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

An unexpected discovery on the London Underground in 1988 changed forever the course of a teenage Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the London's vibrant 1990s creative scene, moving from mannequin to stylist and, by the age of 18, becoming the fashion director of the iconic i-D.

"That time was the peak of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I felt we’d be great friends. We all hung out across disciplines. Friday bled into Saturday into Sunday. I yearn for that rawness."

If Enninful sounds nostalgic, he is in good company. Recently, a wistful romanticisation of the 1990s has become pervasive. Yet since that time, Enninful believes a noticeable regression. "In my view, we’re less tolerant now than we were in the 90s," he remarks. "This isn't just this country – it’s worldwide."

A Perceived Regression

This regression is hard to ignore: the rise of nationalist groups, the reaction against social awareness, and the reinforcement of traditional beauty standards. Where once there was the optimism of the late 90s, today a different political personality looms as a potential leader. Even, the British flag, once an symbol of cultural optimism, has become contentious again.

For Enninful, the solution has long been to champion culture in all its multifaceted forms. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a diverse array of cultural icons from music.

"People with a voice should employ it," he comments, referring to those publishing choices. "People often debate about immigration; I would not be in this position if Britain hadn't been a lenient country, if it did not offer my family a home and an education. That’s the Britain I believed in. I believe this period 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 systemic issues – I had no concept what that was."

His formative years would forge a groundbreaking career marked by boldness and inclusivity. Enninful broke barriers as the first man, first Black editor, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His tenure featured landmark covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and people from all walks of life. Significantly, 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 states.

Launching a Creative Venture

He has recently launched his agency EE72 and its flagship publication, 72, his premier initiative since departing his former post. He states his aim to continue being a "innovator".

"I’ve always questioned the status quo. I was brought up in a place where the majority was Black – the doctors, the attorneys, the president. Then we came to England, without funds, and I became the 'other'. I was incredibly timid. My teachers declared I’d achieve nothing. Me and my brothers were harassed under the Sus laws … those experiences gave me a sense of being between worlds."

In contrast to the stereotype of industry figures as brash and temperamental, Enninful is measured in tone and exudes calm. His journey has included its share of adversity, including publicly shared struggles with depression and substance use.

He has also faced significant health challenges, having had multiple operations on his eyes, resulting in limited vision. "I endured such a time of fear for two years, not working, terrified I was going to go blind. It’s comparable to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever is over, I’m just going to do everything that I was so afraid to do. I’m not going to confine myself to just being an editor or a fashion person."

Curating a Cultural Era

This refusal to fit into a box has led him outside the realm that made his name. He is now organising a significant 1990s exhibition at Tate Britain, featuring work by a group of influential artists and photographers from the era. The show, he explains, aims to capture the decade's artistic collaboration – and spotlight those who weren't given due recognition at the time.

"The establishment didn't always celebrate the truly innovative creators because they lacked the right pedigree," he comments.

This venture itself operates on a unique strategy, forgoing traditional advertising in favour of partnership-based projects. "The question is, what can we achieve in partnership? Is it an event, a series? The magazine is part of a larger creative platform."

Looking Forward Without Fear

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

What would the Edward of the 90s make of the his current self? He laughs heartily. "It would be a surprise, but he’d be impressed. Back then I was sceptical of institutions. I didn't think institutions like Tate were within my reach."

He pauses. "Gratitude is key. We fled, we left our homeland. I nearly lost my vision. So fear is not a factor. People have underestimated me my whole career. But I am unstoppable once I’ve decided to do something."