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

A serendipitous meeting during a tube journey in 1988 changed forever the path of a young Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the city's vibrant 1990s creative scene, progressing from model to stylist and, while still a teenager, becoming the fashion director of the iconic i-D.

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

Although Enninful appears wistful, he is far from alone. Recently, a wistful romanticisation of the 1990s has reached fever pitch. Yet in the intervening decades, Enninful perceives a profound shift. "In my view, we’re more divided now than we were in the 90s," he observes. "The issue extends beyond this country – it’s everywhere."

Shifting Attitudes

This regression is hard to ignore: the resurgence of nationalist groups, the reaction against progressive values, and the reassertion of Eurocentric beauty standards. Replacing the hope of the Blair era, now a more divisive political figure appears as a potential leader. Even, the British flag, once an emblem of cultural optimism, has become contentious again.

According to Enninful, the antidote has consistently been to champion culture in all its variety. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a broad spectrum of influential figures from art.

"Those in a position of influence should use it," he asserts, explaining those editorial decisions. "There is much discussion about immigration; I would not be in this position if Britain were not a open country, if it did not offer my family a refuge and an education. That’s the Britain I cherished. I trust this phase will end."

A New Wave of Consciousness

He draws solace in the next generation: "They’re much more aware than we were. They analyse implicit prejudice – I was not even aware what that was."

His formative years would forge a groundbreaking career marked by boldness and diversity. Enninful broke barriers as the first male, first Black editor, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His leadership featured diverse covers showcasing models of colour, plus-sized women, an octogenarian, and people from varied communities. Critically, sales increased.

"Ignoring large portions of the population, it’s not just that you’re excluding people – it’s a poor strategy," he explains.

Launching a Creative Venture

He has established his new venture EE72 and its flagship publication, 72, his key endeavour since departing his former post. He says he wants to continue being a "innovator".

"I’ve always questioned the established norms. I was born and raised in a place where the majority was Black – the physicians, the lawyers, the leader. Then we came to England, penniless, and I found myself on the margins. I was very shy. My teachers predicted I’d never amount to anything. Me and my brothers were harassed under the Sus laws … those experiences gave me a dual identity both an insider and outsider."

In contrast to the popular image of fashion editors as loud and highly strung, Enninful is softly spoken and radiates serenity. His life has involved adversity, including well-documented periods of depression and addiction.

He has also endured significant health challenges, having had multiple operations on his eyes, now leaving him with limited vision. "I experienced such a time of fear for two years, not working, terrified 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 is over, I’m just going to pursue all that I was so afraid to do. I’m not going to limit myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This refusal to fit into a box has led him away from the industry that built his career. He is now putting together a significant 1990s exhibition at Tate Britain, bringing together work by a host of influential artists and photographers from the era. The show, he explains, aims to capture the decade's interdisciplinary energy – and highlight those who did not receive adequate attention at the time.

"Institutions didn't always promote the right artists because they weren't of the traditional credentials," he states.

This project itself functions with a novel strategy, forgoing traditional advertising in favour of creative collaborations. "The question is, what can we achieve in partnership? Is it an event, a series? The magazine is one component of a greater ecosystem."

Looking Forward Without Fear

Now, Enninful operates as one of the world's most powerful cultural influencers. His path, he feels, is a demonstration to the power of defying expectations.

How would the Edward of the 90s react to the Edward of today? He laughs heartily. "He’d be in shock, but he’d be impressed. Back then I was anti-establishment. I would not have believed institutions like Tate were within my reach."

He reflects. "Gratitude is key. We lost our home, we left our homeland. I nearly lost my vision. So fear isn't an option. People have counted me out my entire life. But nothing can stop me once I’ve set my intention to do something."