Edward Enninful reflects on Modern Britain: 'Britain Feels Less Tolerant Now' Than We Were Decades Ago.

A serendipitous meeting while riding the tube in 1988 changed forever the course of a teenage Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the London's vibrant 1990s artistic milieu, progressing from model to stylist and, before turning twenty, becoming the style editor of the iconic i-D.

"It was the height of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I felt we’d be kindred spirits. We all hung out across disciplines. Friday became Saturday into Sunday. I miss that spontaneity."

If Enninful sounds wistful, he is far from alone. Recently, a wistful romanticisation of the 1990s has reached fever pitch. But over the last thirty years, Enninful perceives a profound shift. "In my view, we’re more divided now than we were in the 90s," he observes. "It’s not even this country – it’s a global phenomenon."

A Perceived Regression

This regression is increasingly evident: the resurgence of far-right politics, the pushback against progressive values, and the return of Eurocentric beauty standards. Where once there was the hope of the Blair era, today a different political figure looms as a possible leader. Even, the Union Jack, once an emblem of national pride, has returned as a polarising symbol.

For Enninful, the response has consistently been to celebrate culture in all its diversity. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a diverse array of cultural icons from politics.

"People with a voice should use it," he asserts, explaining those publishing choices. "There is much discussion about immigration; I would not be in this position if Britain hadn't been a lenient country, if it hadn't given my family a refuge and an education. That’s the Britain I believed in. I hope this period will pass."

A New Wave of Consciousness

He finds hope in the younger generation: "They are far more conscious than we were. They analyse unconscious bias – I didn't even know what that was."

The beginnings of his career would forge a groundbreaking career built on boldness and diversity. Enninful made history as the first man, first black man, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His tenure featured diverse covers showcasing models of colour, plus-sized women, older individuals, and individuals from all walks of life. Critically, sales increased.

"Ignoring large portions of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he emphasises.

A New Chapter as a 'Disruptor'

He has recently launched his creative company EE72 and its flagship publication, 72, his premier initiative since leaving his former post. He expresses a desire to continue being a "change-maker".

"I constantly interrogate the conventional wisdom. I was brought up in a place where everybody was black – the doctors, the lawyers, the leader. Then we arrived in England, without funds, and I was a minority. I was incredibly timid. My teachers predicted I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … this duality gave me a sense of being on the inside and the outside."

Defying the popular image of industry figures as brash and highly strung, Enninful is softly spoken and exudes calm. His life has included its share of adversity, including publicly shared struggles with depression and substance use.

He has also undergone serious health issues, having undergone several surgeries on his eyes, resulting in partial sight. "I was in such a time of fear for two years, away from work, terrified I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever ends, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to restrict myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This refusal to be defined narrowly has propelled him beyond the world that built his career. He is now curating a significant 1990s exhibition at Tate Britain, featuring work by a group of pivotal artists and photographers from the era. The show, he explains, aims to explore the decade's artistic collaboration – and give platform to those who lacked due recognition at the time.

"Institutions sometimes neglected to promote the truly innovative creators because they did not have the traditional credentials," he comments.

The magazine 72 itself uses a novel business model, eschewing traditional advertising in favour of creative collaborations. "The question is, what can we do together? Is it an event, a series? The magazine is part of a larger creative platform."

A Testament to Resilience

Now, Enninful is regarded as one of the world's most powerful cultural influencers. His journey, he feels, is a demonstration to the power of pursuing your passions.

How would the Edward of the 90s think of the Edward of today? He smiles. "He’d be in shock, but he’d be impressed. Back then I was sceptical of institutions. I never imagined institutions like Tate were necessarily for me."

He reflects. "I never take anything for granted. We lost our home, we fled our country. I nearly lost my vision. So fear isn't an option. People have doubted me my entire life. But nothing can stop me once I’ve decided to do something."