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

An unexpected discovery during a tube journey in 1988 altered the path of a young Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was quickly drawn into the capital's vibrant 1990s cultural landscape, evolving from mannequin to stylist and, while still a teenager, becoming the style editor of i-D magazine.

"It was the peak of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I knew we’d be close. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I long for that rawness."

While Enninful may seem nostalgic, he is far from alone. Recently, a wistful romanticisation of the 1990s has become pervasive. But over the last thirty years, Enninful feels a profound shift. "In my view, we’re more divided now than we were in the 90s," he says. "The issue extends beyond this country – it’s a global phenomenon."

A Cultural Backslide

This regression is hard to ignore: the growth of far-right politics, the reaction against so-called "wokeness", and the reassertion of Eurocentric beauty standards. Replacing the hope of the previous decade, currently a different political figure stands as a possible leader. Furthermore, the Union Jack, once an emblem of Cool Britannia, has become contentious again.

According to Enninful, the antidote 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 celebration of modern Britain, including a broad spectrum of cultural icons from art.

"People with a voice should wield it," he asserts, referring to those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain was not a open country, if it refused my family a home and an opportunity. That’s the Britain I cherished. I hope this period will fade."

Hope in the Next Generation

He draws solace in the youth of today: "Their awareness is greater than we were. They analyse implicit prejudice – I had no concept what that was."

The beginnings of his career would forge a pioneering career characterised by fearlessness and diversity. Enninful set a precedent as the first male, first Black editor, first gay man, and first disabled gay man of colour to lead at British Vogue. His tenure featured historic front pages showcasing people of diverse backgrounds, curvy models, an octogenarian, and individuals from all walks of life. Importantly, sales increased.

"To overlook huge sections of the population, it’s more than that you’re failing to represent – it’s a poor strategy," he emphasises.

Launching a Creative Venture

He has recently launched his new venture EE72 and its flagship publication, 72, his premier initiative since leaving his former post. He states his aim to continue being a "change-maker".

"I constantly interrogate the conventional wisdom. I was brought up in a place where the majority was Black – the physicians, the attorneys, the president. Then we arrived in England, penniless, and I was a minority. I was incredibly timid. My teachers said I’d never amount to anything. Me and my brothers were stopped by the police the suspicion laws … all that gave me a sense of being on the inside and the outside."

Contrary to the popular image of industry figures as loud and temperamental, Enninful is softly spoken and projects peace. His path has included its share of challenges, including publicly shared struggles with mental health and addiction.

He has also faced serious health issues, having had multiple operations on his eyes, resulting in limited vision. "I endured such a dark place for two years, not working, 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 is over, I’m just going to pursue all that I was so fearful to do. I’m not going to confine 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 realm that built his career. He is now putting together a significant 1990s exhibition at Tate Britain, bringing together work by a host of defining artists and photographers from the era. The show, he explains, aims to explore the decade's creative cross-pollination – and highlight those who weren't given adequate attention at the time.

"The establishment didn't always promote the most relevant talents because they weren't of the right pedigree," he states.

The magazine 72 itself operates on a different strategy, eschewing traditional advertising in favour of partnership-based projects. "We ask, what can we create collaboratively? Is it an experience, a podcast? The magazine is a piece within a larger creative platform."

A Testament to Resilience

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

How would the Enninful of that era react to the man he has become? He smiles. "He would be astonished, but he’d be proud. In those days I was sceptical of institutions. I didn't think institutions like Tate were a place for someone like me."

He pauses. "I never take anything for granted. We lost our home, we left our homeland. I nearly lost my vision. So there is no room for fear. People have counted me out my entire life. But I am unstoppable once I’ve made up my mind to do something."