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

A serendipitous meeting while riding the tube in 1988 changed forever the path of a young Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was quickly drawn into the London's vibrant 1990s cultural landscape, moving from mannequin to stylist and, before turning twenty, becoming the fashion director of i-D magazine.

"It was the zenith of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I felt we’d be great friends. We all mixed across disciplines. Friday bled into Saturday into Sunday. I long for that rawness."

If Enninful sounds sentimental, he is not the only one. In recent times, a fond idealisation of the 1990s has reached fever pitch. But since that time, Enninful believes a profound shift. "In my view, we’re more divided now than we were in the 90s," he says. "It’s not even this country – it’s everywhere."

A Perceived Regression

This regression is difficult to overlook: the rise of nationalist groups, the reaction against so-called "wokeness", and the reassertion of narrow beauty standards. In place of the hope of the Blair era, today a more divisive political personality stands as a possible leader. Even, the Union Jack, once an emblem of Cool Britannia, has sparked debate once more.

For Enninful, the response has always been to promote culture in all its diversity. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a broad spectrum of cultural icons from art.

"Individuals with a platform should employ it," he says, discussing those publishing choices. "There is much discussion about immigration; I would not be in this position if Britain was not a welcoming country, if it did not offer my family a refuge and an opportunity. That’s the Britain I cherished. I trust this period will end."

The Younger Generation's Awareness

He finds hope in the younger generation: "They are far more conscious than we were. They discuss systemic issues – I had no concept what that was."

Those early experiences would forge a groundbreaking career characterised by boldness and diversity. Enninful broke barriers as the first man, first Black editor, first openly gay person, and first disabled Black gay man to lead at British Vogue. His time featured historic front pages showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and people from varied communities. Significantly, sales increased.

"To overlook huge sections of the population, it’s not just that you’re failing to represent – it’s bad for business," he explains.

Launching a Creative Venture

He has recently launched his creative company EE72 and its accompanying magazine, 72, his key endeavour since departing his previous role. He states his aim to continue being a "disruptor".

"My nature is to challenge the status quo. I was born and raised in a place where everybody was black – the physicians, the attorneys, the leader. Then we came to England, penniless, and I found myself on the margins. I was painfully reserved. My teachers said I’d never amount to anything. Me and my brothers were subject to police stops the Sus laws … all that gave me a sense of being between worlds."

In contrast to the popular image of industry figures as loud and highly strung, Enninful is calm and projects peace. His life has included its share of hardship, including well-documented battles with depression and addiction.

He has also undergone serious health issues, having undergone several surgeries on his eyes, now leaving him with limited vision. "I endured such a dark place for two years, not working, anxious I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I prayed, if this ever passes, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to restrict myself to just being an editor or a fashion person."

Curating a Cultural Era

This determination to be defined narrowly has led him away from the industry that made his name. He is now organising a seminal 1990s exhibition at Tate Britain, showcasing work by a roster of defining artists and photographers from the era. The show, he notes, aims to evoke the decade's artistic collaboration – and give platform to those who lacked adequate attention at the time.

"Institutions didn't always shine a light on the most relevant talents because they weren't of the right pedigree," he states.

This venture itself uses a different approach, forgoing traditional advertising in favour of partnership-based projects. "We ask, what can we achieve in partnership? Is it an experience, a podcast? The magazine is part of a broader vision."

An Unstoppable Drive

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

What would the Edward of the 90s think of the man he has become? He smiles. "It would be a surprise, but he’d be pleased. Back then I was a rebel. I didn't think institutions like Tate were within my reach."

He reflects. "I never take anything for granted. We lost our home, we left our homeland. I came close to losing my vision. So there is no room for fear. People have doubted me my whole career. But nothing can stop me once I’ve decided to do something."