Edward Enninful reflects on Modern Britain: 'Britain Feels Less Tolerant Now' Compared to the Nineties.

A serendipitous meeting while riding the tube in 1988 transformed the trajectory of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was quickly drawn into the capital's buzzing 1990s cultural landscape, evolving from model to stylist and, before turning twenty, becoming the style editor of the iconic i-D.

"That era was the peak of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I understood we’d be close. We all mixed across disciplines. Friday bled into Saturday into Sunday. I long for that spontaneity."

Although Enninful appears sentimental, he is not the only one. Lately, a fond idealisation of the 1990s has grown intense. However since that time, Enninful perceives a profound shift. "I believe, we’re less accepting now than we were in the 90s," he observes. "It’s not even this country – it’s a global phenomenon."

Shifting Attitudes

This regression is difficult to overlook: the resurgence of nationalist groups, the pushback against progressive values, and the return of Eurocentric beauty standards. Where once there was the hope of the Blair era, today a more divisive political force appears as a potential leader. Even, the Union Jack, once an emblem of cultural optimism, has become contentious again.

According to Enninful, the response has consistently been to champion culture in all its diversity. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a broad spectrum of prominent faces from music.

"Individuals with a platform should employ it," he says, referring to those publishing choices. "Everyone talks about immigration; I would not be in this position if Britain was not a lenient country, if it hadn't given my family a home and an education. That’s the Britain I believed in. I believe this moment will end."

The Younger Generation's Awareness

He draws solace in the younger generation: "They are far more conscious than we were. They talk about systemic issues – I didn't even know what that was."

The beginnings of his career would define a trailblazing career characterised by fearlessness and representation. Enninful broke barriers as the first male, first black man, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His tenure featured historic front pages showcasing models of colour, curvy models, older individuals, and people from varied communities. Importantly, sales increased.

"To overlook vast segments of the population, it’s not just that you’re not being inclusive – it’s bad for business," he states.

A New Chapter as a 'Disruptor'

He has since founded his agency EE72 and its accompanying magazine, 72, his first major project since departing his former post. He expresses a desire to continue being a "disruptor".

"I’ve always questioned the conventional wisdom. I was raised in a place where the majority was Black – the doctors, the lawyers, the president. Then we came to England, without funds, and I was a minority. I was very shy. My teachers said I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … those experiences gave me a unique perspective both an insider and outsider."

Contrary to the caricature of fashion editors as loud and temperamental, Enninful is calm and exudes calm. His life has not been immune to adversity, including publicly shared battles with mental health and addiction.

He has also faced significant health challenges, having had multiple operations on his eyes, resulting in partial sight. "I endured such a time of fear for two years, away from work, terrified I was going to go blind. It’s comparable to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever passes, I’m just going to do everything that I was so fearful to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This drive to fit into a box has inspired him outside the industry that made his name. He is now organising a significant 1990s exhibition at Tate Britain, showcasing work by a roster of influential artists and photographers from the era. The show, he says, aims to evoke the decade's artistic collaboration – and highlight those who did not receive due recognition at the time.

"The establishment often failed to promote the most relevant talents because they weren't of the traditional credentials," he observes.

This venture itself functions with a different strategy, rejecting traditional advertising in favour of partnership-based projects. "We ask, what can we do together? Is it an event, a podcast? The magazine is part of a greater ecosystem."

Looking Forward Without Fear

Currently, Enninful stands as one of the world's most respected cultural influencers. His story, he states, is a demonstration to the power of following your instincts.

What would the Edward of the 90s think of the man he has become? He laughs heartily. "He’d be in shock, but he’d be impressed. At that time I was sceptical of institutions. I would not have believed institutions like Tate were a place for someone like me."

He pauses. "Gratitude is key. We lost our home, we fled our country. I came close to losing my vision. So fear isn't an option. People have underestimated me my entire life. But I am unstoppable once I’ve made up my mind to do something."