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

A serendipitous meeting while riding the tube in 1988 altered the trajectory of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the capital's buzzing 1990s cultural landscape, progressing from model to stylist and, while still a teenager, becoming the fashion director of i-D magazine.

"It was the peak of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I knew we’d be kindred spirits. We all mixed across disciplines. Friday became Saturday into Sunday. I long for that spontaneity."

While Enninful may seem wistful, he is not the only one. Lately, a fond idealisation of the 1990s has grown intense. Yet in the intervening decades, Enninful feels a significant change. "In my view, we’re less accepting now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s a global phenomenon."

A Perceived Regression

This shift is difficult to overlook: the rise of populist movements, the backlash against so-called "wokeness", and the reassertion of traditional beauty standards. In place of the hope of the late 90s, today a different political force appears as a potential leader. Furthermore, the British flag, once an symbol of cultural optimism, has sparked debate once more.

According to Enninful, the response has consistently been to promote culture in all its variety. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a wide range of prominent faces from literature.

"People with a voice should use it," he comments, explaining those publishing choices. "People often debate about immigration; I could not have had this life if Britain were not a open country, if it refused my family a home and an opportunity. That’s the Britain I cherished. I believe this phase will fade."

Hope in the Next Generation

He draws solace in the younger generation: "They are far more conscious than we were. They discuss unconscious bias – I had no concept what that was."

His formative years would define a groundbreaking career built on boldness and inclusivity. Enninful set a precedent as the first man, first black man, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His tenure featured diverse covers showcasing Black models, curvy models, an octogenarian, and people from all walks of life. Critically, sales rose.

"Ignoring huge sections of the population, it’s more than that you’re excluding people – it’s bad for business," he states.

Launching a Creative Venture

He has established his agency EE72 and its accompanying magazine, 72, his premier initiative since departing his previous role. He says he wants to continue being a "change-maker".

"My nature is to challenge the conventional wisdom. I was raised in a place where the majority was Black – the physicians, the lawyers, the president. Then we arrived in England, without funds, and I was a minority. I was very shy. My teachers predicted I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … those experiences gave me a dual identity between worlds."

In contrast to the caricature of industry figures as brash and temperamental, Enninful is measured in tone and radiates serenity. His path has involved challenges, including openly discussed periods of depression and substance use.

He has also faced significant health challenges, having undergone several surgeries on his eyes, now leaving him with limited vision. "I was in such a difficult period for two years, not working, fearing I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever ends, I’m just going to do everything that I was so fearful to do. I’m not going to confine myself to just being an editor or a figure in fashion."

A Foray into Curation

This determination to be typecast has led him beyond the industry that established him. He is now curating a significant 1990s exhibition at Tate Britain, featuring work by a host of pivotal artists and photographers from the era. The show, he explains, aims to evoke the decade's creative cross-pollination – and spotlight those who weren't given adequate attention at the time.

"Galleries often failed to celebrate the most relevant talents because they did not have the traditional credentials," he observes.

This venture itself functions with a unique approach, forgoing traditional advertising in favour of partnership-based projects. "We ask, what can we achieve in partnership? Is it an event, a podcast? The magazine is part of a larger creative platform."

A Testament to Resilience

Now, Enninful stands as one of the world's most respected cultural influencers. His journey, he believes, is a proof to the power of following your instincts.

How would the Edward of the 90s react to the man he has become? He laughs heartily. "He would be astonished, but he’d be impressed. At that time I was anti-establishment. I would not have believed institutions like Tate were necessarily for me."

He pauses. "I never take anything for granted. We fled, we left our homeland. I nearly lost my vision. So there is no room for fear. People have doubted me my whole career. But no obstacle is too great once I’ve set my intention to do something."