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

A chance encounter on the London Underground in 1988 altered the course of a young Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was quickly drawn into the capital's vibrant 1990s cultural landscape, evolving from model to stylist and, by the age of 18, becoming the style editor of i-D magazine.

"That era was the peak of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I knew we’d be close. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I miss that energy."

While Enninful may seem wistful, he is not the only one. Recently, a fond idealisation of the 1990s has become pervasive. However 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. "This isn't just this country – it’s everywhere."

A Cultural Backslide

This shift is hard to ignore: the growth of far-right politics, the backlash against so-called "wokeness", and the reassertion of traditional beauty standards. Replacing the hope of the previous decade, currently a different political personality stands as a possible leader. Even, the Union Jack, once an symbol of Cool Britannia, has sparked debate once more.

For Enninful, the solution has always been to promote culture in all its variety. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a diverse array of influential figures from music.

"People with a voice should wield it," he says, explaining those editorial decisions. "People often debate about immigration; I could not have had this life if Britain was not a welcoming country, if it refused my family a refuge and an education. That’s the Britain I believed in. I believe this moment will fade."

A New Wave of Consciousness

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

His formative years would shape a pioneering career built on fearlessness and inclusivity. Enninful set a precedent as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His leadership featured diverse covers showcasing people of diverse backgrounds, curvy models, older individuals, and people from all walks of life. Critically, sales increased.

"Ignoring large portions of the population, it’s more than that you’re not being inclusive – it’s commercially unwise," he emphasises.

Launching a Creative Venture

He has established his new venture EE72 and its accompanying magazine, 72, his first major project since moving on from his former post. He states his aim to continue being a "disruptor".

"My nature is to challenge the established norms. I was raised in a place where everybody was black – the doctors, the attorneys, the president. Then we arrived in England, with nothing, and I became the 'other'. I was very shy. My teachers said I’d have no future. Me and my brothers were subject to police stops the suspicion laws … all that gave me a unique perspective both an insider and outsider."

Defying the caricature of industry figures as loud and highly strung, Enninful is measured in tone and radiates serenity. His path has included its share of adversity, including openly discussed periods of mental health and addiction.

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 time of fear for two years, away from work, terrified I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I vowed, 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 drive to be typecast has inspired him outside the realm that established him. He is now putting together a significant 1990s exhibition at Tate Britain, featuring work by a group of defining artists and photographers from the era. The show, he notes, aims to capture the decade's creative cross-pollination – and give platform to those who lacked due recognition at the time.

"Institutions didn't always celebrate the right artists because they weren't of the expected background," he states.

This venture itself functions with a different business model, rejecting traditional advertising in favour of creative collaborations. "We ask, what can we achieve in partnership? Is it an experience, a series? The magazine is one component of a greater ecosystem."

Looking Forward Without Fear

Today, Enninful is regarded as one of the world's most respected cultural influencers. His journey, he states, is a testament to the power of pursuing your passions.

How would the Enninful of that era make of the man he has become? He laughs heartily. "He’d be in shock, but he’d be pleased. At that time I was anti-establishment. I didn't think institutions like Tate were necessarily for me."

He adds. "I never take anything for granted. We lost our home, we fled our country. I came close to losing my vision. So fear isn't an option. People have doubted me my whole career. But I am unstoppable once I’ve made up my mind to do something."