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

A chance encounter during a tube journey in 1988 changed forever the course of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the city's electric 1990s artistic milieu, progressing from mannequin to stylist and, by the age of 18, becoming the fashion director of the publication 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 Naomi Campbell for a cover, and I knew we’d be close. We all socialised across disciplines. Friday became Saturday into Sunday. I long for that spontaneity."

Although Enninful appears nostalgic, he is not the only one. Lately, a fond idealisation of the 1990s has become pervasive. But in the intervening decades, Enninful believes a noticeable regression. "In my view, we’re less accepting now than we were in the 90s," he says. "The issue extends beyond this country – it’s a global phenomenon."

A Cultural Backslide

This shift is hard to ignore: the resurgence of populist movements, the backlash against so-called "wokeness", and the return of narrow beauty standards. Where once there was the optimism of the late 90s, currently a different political force looms as a potential leader. Furthermore, the Union Jack, once an emblem of Cool Britannia, has sparked debate once more.

For Enninful, the antidote has long been to champion 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, including a broad spectrum of cultural icons from literature.

"People with a voice should wield it," he says, explaining those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain hadn't been a open country, if it hadn't given my family a home and an education. That’s the Britain I always loved. I hope this period will end."

Hope in the Next Generation

He finds hope in the youth of today: "Their awareness is greater than we were. They talk about implicit prejudice – I didn't even know what that was."

The beginnings of his career would shape a groundbreaking career characterised by boldness and representation. Enninful set a precedent as the first male, first black man, first openly gay person, and first disabled Black gay man to lead at British Vogue. His time featured diverse covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and individuals from varied communities. Importantly, sales grew.

"When you ignore vast segments of the population, it’s more than that you’re not being inclusive – it’s a poor strategy," he emphasises.

Beyond the Magazine World

He has recently launched his agency EE72 and its flagship publication, 72, his premier initiative since leaving his previous role. He expresses a desire to continue being a "change-maker".

"I constantly interrogate the conventional wisdom. I was brought up in a place where everybody was black – the physicians, the attorneys, the leader. Then we came to England, penniless, and I found myself on the margins. I was incredibly timid. My teachers predicted I’d never amount to anything. Me and my brothers were harassed under the Sus laws … this duality gave me a unique perspective between worlds."

Contrary to the stereotype of industry figures as loud and temperamental, Enninful is softly spoken and radiates serenity. His path has included its share of hardship, including openly discussed battles with depression and substance use.

He has also endured serious health challenges, having had multiple operations on his eyes, resulting in impaired eyesight. "I endured such a dark place for two years, away from work, terrified I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I thought, if this ever ends, I’m just going to pursue all that I was so afraid to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This refusal to be typecast has led him away from the realm that established him. He is now putting together a seminal 1990s exhibition at Tate Britain, showcasing work by a roster of influential artists and photographers from the era. The show, he notes, aims to explore the decade's interdisciplinary energy – and highlight those who did not receive adequate attention at the time.

"Galleries sometimes neglected to promote the most relevant talents because they did not have the traditional credentials," he observes.

The magazine 72 itself functions with a different approach, eschewing traditional advertising in favour of partnership-based projects. "Our approach is, what can we create collaboratively? Is it an event, a podcast? The magazine is one component of a broader vision."

An Unstoppable Drive

Now, Enninful operates as one of the world's most influential creative power brokers. His story, he states, is a testament to the power of following your instincts.

How would the Enninful of that era react to the his current self? He laughs heartily. "It would be a surprise, but he’d be pleased. Back then 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 fled, we fled our country. I nearly lost my vision. So fear isn't an option. People have doubted me my whole career. But nothing can stop me once I’ve made up my mind to do something."