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

A serendipitous meeting on the London Underground in 1988 transformed the trajectory of a teenage Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the London's electric 1990s creative scene, evolving from model to stylist and, before turning twenty, becoming the fashion director of the publication i-D.

"That era was the peak 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 knew we’d be close. We all mixed across disciplines. Friday became Saturday into Sunday. I miss that rawness."

Although Enninful appears nostalgic, he is not the only one. Recently, a longing look back of the 1990s has become pervasive. But since that time, Enninful believes a significant change. "I believe, we’re more divided now than we were in the 90s," he observes. "This isn't just this country – it’s worldwide."

A Cultural Backslide

This shift is hard to ignore: the growth of far-right politics, the reaction against progressive values, and the return of traditional beauty standards. Replacing the optimism of the Blair era, currently a more divisive political figure stands as a possible leader. Even, the British flag, once an symbol of national pride, has sparked debate once more.

In Enninful's view, the antidote has always been to champion culture in all its variety. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a wide range of influential figures from literature.

"People with a voice should employ it," he comments, discussing those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain were not a lenient country, if it did not offer my family a refuge and an education. That’s the Britain I believed in. I hope this phase will fade."

Hope in the Next Generation

He draws solace in the next generation: "They’re much more aware than we were. They analyse systemic issues – I didn't even know what that was."

His formative years would forge a groundbreaking career characterised by fearlessness and inclusivity. Enninful made history as the first man, first Black editor, first gay man, and first disabled Black gay man to lead at British Vogue. His tenure featured diverse covers showcasing Black models, plus-sized women, an octogenarian, and people from all walks of life. Significantly, sales increased.

"Ignoring vast segments of the population, it’s more than that you’re excluding people – it’s a poor strategy," he explains.

Launching a Creative Venture

He has recently launched his agency EE72 and its accompanying magazine, 72, his first major project since moving on from his former post. He says he wants to continue being a "change-maker".

"I’ve always questioned the established norms. I was born and raised in a place where everybody was black – the physicians, the attorneys, the president. Then we came to England, with nothing, and I was a minority. I was incredibly timid. My teachers declared I’d have no future. Me and my brothers were stopped by the police the suspicion laws … those experiences gave me a unique perspective between worlds."

In contrast to the popular image of industry figures as brash and temperamental, Enninful is measured in tone and radiates serenity. His journey has involved hardship, including publicly shared periods of mental health and addiction.

He has also faced serious health issues, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I endured such a dark place for two years, away from work, fearing I was going to go blind. It’s comparable to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever ends, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to limit myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This drive to be typecast has propelled him outside the world that established him. He is now organising a significant 1990s exhibition at Tate Britain, featuring work by a group of pivotal artists and photographers from the era. The show, he says, aims to evoke the decade's creative cross-pollination – and give platform to those who weren't given due recognition at the time.

"The establishment often failed to celebrate the right artists because they lacked the right pedigree," he observes.

The magazine 72 itself uses a different strategy, forgoing traditional advertising in favour of partnership-based projects. "The question is, what can we do together? Is it an event, a podcast? The magazine is one component of a larger creative platform."

Looking Forward Without Fear

Now, Enninful is regarded as one of the world's most powerful industry leaders. His story, he states, is a proof to the power of defying expectations.

How would the Edward of the 90s react to the man he has become? He laughs heartily. "It would be a surprise, but he’d be impressed. At that time I was sceptical of institutions. I never imagined institutions like Tate were a place for someone like me."

He adds. "I never take anything for granted. We were displaced, we fled our country. I nearly lost my vision. So fear isn't an option. People have counted me out my entire life. But I am unstoppable once I’ve decided to do something."