Edward Enninful reflects on Modern Britain: 'Britain Feels Less Tolerant Now' Than We Were Decades Ago.

A serendipitous meeting on the London Underground in 1988 altered the path of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the London's buzzing 1990s creative scene, progressing from mannequin to stylist and, by the age of 18, becoming the style editor of the iconic i-D.

"That era was the zenith of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I understood we’d be great friends. We all hung out across disciplines. Friday became Saturday into Sunday. I miss that rawness."

Although Enninful appears nostalgic, he is far from alone. Lately, a fond idealisation of the 1990s has reached fever pitch. But since that time, Enninful believes a noticeable regression. "I believe, we’re less accepting now than we were in the 90s," he observes. "This isn't just this country – it’s worldwide."

A Perceived Regression

This change is hard to ignore: the growth of far-right politics, the backlash against so-called "wokeness", and the reassertion of Eurocentric beauty standards. Replacing the optimism of the previous decade, currently a more divisive political figure looms as a possible leader. Even, the Union Jack, once an badge of Cool Britannia, has returned as a polarising symbol.

For Enninful, the antidote has consistently been to celebrate culture in all its multifaceted forms. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a broad spectrum of cultural icons from art.

"People with a voice should wield it," he says, discussing those publishing choices. "There is much discussion about immigration; I wouldn't be here if Britain were not a welcoming country, if it refused my family a home and an opportunity. That’s the Britain I cherished. I believe this moment will end."

A New Wave of Consciousness

He draws solace in the youth of today: "They are far more conscious than we were. They talk about implicit prejudice – I didn't even know what that was."

Those early experiences would forge a pioneering career marked by fearlessness and inclusivity. Enninful set a precedent as the first male, first black man, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His time featured landmark covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and individuals from varied communities. Significantly, sales increased.

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

A New Chapter as a 'Disruptor'

He has since founded his creative company EE72 and its accompanying magazine, 72, his key endeavour since moving on from his former post. He expresses a desire to continue being a "innovator".

"I constantly interrogate the established norms. I was brought up in a place where everybody was black – the physicians, the attorneys, the leader. Then we arrived in England, without funds, and I became the 'other'. I was very shy. My teachers said I’d never amount to anything. Me and my brothers were subject to police stops the Sus laws … this duality gave me a unique perspective on the inside and the outside."

Contrary to the popular image of fashion editors as brash and temperamental, Enninful is softly spoken and projects peace. His journey has included its share of hardship, including well-documented struggles with mental health and substance use.

He has also faced serious health issues, having undergone several surgeries on his eyes, leading to impaired eyesight. "I was in such a dark place for two years, not working, 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 ends, I’m just going to pursue all that I was so fearful to do. I’m not going to limit myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This drive to fit into a box has propelled him away from the realm that built his career. He is now curating a major 1990s exhibition at Tate Britain, showcasing work by a roster of defining artists and photographers from the era. The show, he notes, aims to capture the decade's interdisciplinary energy – and spotlight those who weren't given due recognition at the time.

"The establishment sometimes neglected to promote the truly innovative creators because they weren't of the expected background," he comments.

This venture itself functions with a unique strategy, rejecting traditional advertising in favour of creative collaborations. "The question is, what can we do together? Is it an event, a podcast? The magazine is a piece within a broader vision."

A Testament to Resilience

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

What would the Edward of the 90s think of the his current self? He chuckles. "He’d be in shock, but he’d be proud. In those days I was sceptical of institutions. I would not have believed institutions like Tate were necessarily for me."

He reflects. "I never take anything for granted. We were displaced, 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 no obstacle is too great once I’ve decided to do something."