Edward Enninful reflects on Modern Britain: 'Britain Feels Less Tolerant Now' Than in the 90s.

An unexpected discovery during a tube journey in 1988 changed forever the trajectory of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the capital's buzzing 1990s creative scene, moving from model to stylist and, by the age of 18, becoming the style editor of the publication i-D.

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

If Enninful sounds sentimental, he is in good company. Lately, a wistful romanticisation of the 1990s has become pervasive. However in the intervening decades, Enninful feels a significant change. "In my view, we’re more divided now than we were in the 90s," he remarks. "It’s not even this country – it’s worldwide."

Shifting Attitudes

This shift is difficult to overlook: the growth of far-right politics, the reaction against so-called "wokeness", and the reassertion of narrow beauty standards. Where once there was the hope of the Blair era, now a different political personality looms as a potential leader. Furthermore, the British flag, once an emblem of Cool Britannia, has returned as a polarising symbol.

According to Enninful, the response has consistently been to promote culture in all its diversity. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a broad spectrum of prominent faces from art.

"Those in a position of influence should employ it," he asserts, discussing those publishing choices. "There is much discussion about immigration; I wouldn't be here if Britain was not a welcoming country, if it hadn't given my family a home and an education. That’s the Britain I cherished. I believe this phase will pass."

A New Wave of Consciousness

He takes comfort in the youth of today: "They’re much more aware than we were. They analyse unconscious bias – I was not even aware what that was."

Those early experiences would define a groundbreaking career characterised by boldness and representation. Enninful broke barriers as the first man, first black man, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His time featured landmark covers showcasing models of colour, curvy models, older individuals, and individuals from all walks of life. Critically, sales increased.

"To overlook vast segments of the population, it’s not just that you’re not being inclusive – it’s commercially unwise," he states.

Beyond the Magazine World

He has established his agency EE72 and its accompanying magazine, 72, his key endeavour since departing his previous role. He expresses a desire to continue being a "disruptor".

"My nature is to challenge the conventional wisdom. I was raised in a place where everybody was black – the doctors, the attorneys, the president. Then we came to England, without funds, and I found myself on the margins. I was incredibly timid. My teachers declared I’d never amount to anything. Me and my brothers were stopped by the police the Sus laws … those experiences gave me a dual identity between worlds."

Defying the popular image of fashion editors as loud and temperamental, Enninful is calm and exudes calm. His path has involved adversity, including well-documented struggles with mental health and addiction.

He has also undergone serious health issues, having had multiple operations on his eyes, now leaving him with partial sight. "I was in such a dark place for two years, away from work, fearing I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I vowed, if this ever ends, I’m just going to do everything 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 defined narrowly has propelled him away from the world that made his name. He is now putting together a major 1990s exhibition at Tate Britain, featuring work by a host of defining artists and photographers from the era. The show, he says, aims to capture the decade's interdisciplinary energy – and highlight those who lacked due recognition at the time.

"Galleries often failed to promote the truly innovative creators because they lacked the expected background," he comments.

The magazine 72 itself uses a novel business model, eschewing traditional advertising in favour of partnership-based projects. "The question is, what can we create collaboratively? Is it an event, a series? The magazine is one component of a larger creative platform."

An Unstoppable Drive

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

What would the Edward of the 90s think of the his current self? He laughs heartily. "He’d be in shock, but he’d be proud. Back then I was a rebel. I would not have believed institutions like Tate were within my reach."

He pauses. "Gratitude is key. We were displaced, we left our homeland. I almost lost my vision. So there is no room for fear. People have counted me out my entire life. But nothing can stop me once I’ve decided to do something."