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

A chance encounter on the London Underground in 1988 transformed the trajectory of a young Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the capital's vibrant 1990s creative scene, moving from mannequin to stylist and, while still a teenager, becoming the fashion director of i-D magazine.

"That era was the peak of the YBA movement – 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 socialised across disciplines. Friday rolled into Saturday into Sunday. I long for that rawness."

Although Enninful appears nostalgic, he is not the only one. In recent times, a longing look back of the 1990s has grown intense. Yet over the last thirty years, Enninful feels a noticeable regression. "In my view, we’re less tolerant now than we were in the 90s," he says. "It’s not even this country – it’s worldwide."

Shifting Attitudes

This regression is hard to ignore: the rise of nationalist groups, the pushback against so-called "wokeness", and the return of traditional beauty standards. Replacing the optimism of the late 90s, currently a more divisive political figure stands as a potential leader. Furthermore, the Union Jack, once an symbol of national pride, has returned as a polarising symbol.

According to Enninful, the response has always been to champion culture in all its diversity. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a diverse array of influential figures from literature.

"Individuals with a platform should employ it," he asserts, explaining those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain were not a lenient country, if it refused my family a refuge and an opportunity. That’s the Britain I cherished. I believe this period will pass."

Hope in the Next Generation

He draws solace in the younger generation: "Their awareness is greater than we were. They analyse implicit prejudice – I didn't even know what that was."

The beginnings of his career would shape a trailblazing career built on fearlessness and representation. Enninful set a precedent as the first man, first Black editor, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His leadership featured diverse covers showcasing Black models, plus-sized women, older individuals, and people from all walks of life. Significantly, sales rose.

"Ignoring vast segments of the population, it’s more than that you’re failing to represent – it’s bad for business," he states.

Launching a Creative Venture

He has recently launched his creative company EE72 and its flagship publication, 72, his premier initiative since moving on from his previous role. He says he wants to continue being a "disruptor".

"My nature is to challenge the established norms. I was raised in a place where Black professionals were the norm – the physicians, the attorneys, the leader. Then we arrived in England, penniless, and I was a minority. I was very shy. My teachers said I’d have no future. Me and my brothers were harassed under the suspicion laws … all that gave me a dual identity between worlds."

Contrary to the caricature of industry figures as loud and temperamental, Enninful is measured in tone and exudes calm. His path has not been immune to adversity, including well-documented struggles with mental health and addiction.

He has also undergone significant health challenges, having had multiple operations on his eyes, leading to limited vision. "I endured such a difficult period for two years, away from work, terrified I was going to lose my sight. 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 confine myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This determination to be defined narrowly has led him outside the world that built his career. He is now putting together a seminal 1990s exhibition at Tate Britain, bringing together work by a host of influential artists and photographers from the era. The show, he notes, aims to evoke the decade's interdisciplinary energy – and spotlight those who did not receive a spotlight at the time.

"The establishment didn't always shine a light on the right artists because they weren't of the right pedigree," he comments.

This project itself functions with a novel approach, rejecting traditional advertising in favour of creative collaborations. "Our approach is, what can we do together? Is it an experience, a podcast? The magazine is one component of a larger creative platform."

An Unstoppable Drive

Currently, Enninful is regarded as one of the world's most powerful creative power brokers. His path, he believes, is a demonstration to the power of defying expectations.

What would the Edward of the 90s react to the Edward of today? He smiles. "It would be a surprise, but he’d be pleased. At that time I was anti-establishment. I never imagined institutions like Tate were within my reach."

He adds. "Nothing is assumed. We lost our home, we left our homeland. I almost lost my vision. So fear is not a factor. People have underestimated me my entire life. But nothing can stop me once I’ve made up my mind to do something."