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

An unexpected discovery while riding the tube in 1988 changed forever the trajectory of a teenage Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the city's vibrant 1990s creative scene, evolving from mannequin to stylist and, by the age of 18, becoming the style editor of i-D magazine.

"It was the height of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I felt we’d be kindred spirits. We all mixed across disciplines. Friday became Saturday into Sunday. I yearn for that rawness."

Although Enninful appears sentimental, he is far from alone. Recently, a fond idealisation of the 1990s has become pervasive. Yet over the last thirty years, Enninful perceives a significant change. "In my view, we’re more divided now than we were in the 90s," he says. "This isn't just this country – it’s worldwide."

A Cultural Backslide

This shift is increasingly evident: the rise of nationalist groups, the reaction against social awareness, and the reinforcement of narrow beauty standards. Replacing the optimism of the previous decade, today a different political figure appears as a possible leader. Even, the Union Jack, once an symbol of Cool Britannia, has returned as a polarising symbol.

In Enninful's view, the solution has always been to promote culture in all its multifaceted forms. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a wide range of prominent faces from art.

"People with a voice should wield it," he says, referring to those editorial decisions. "There is much discussion about immigration; I would not be in this position if Britain hadn't been a lenient country, if it hadn't given my family a home and an education. That’s the Britain I always loved. I hope this moment will pass."

A New Wave of Consciousness

He finds hope in the next generation: "They’re much more aware than we were. They analyse systemic issues – I didn't even know what that was."

The beginnings of his career would define a trailblazing career built on boldness and inclusivity. Enninful broke barriers as the first male, first Black editor, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His tenure featured historic front pages showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and people from varied communities. Importantly, sales rose.

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

Beyond the Magazine World

He has since founded his new venture EE72 and its accompanying magazine, 72, his premier initiative since leaving his previous role. He expresses a desire to continue being a "innovator".

"I’ve always questioned the established norms. I was raised in a place where everybody was black – the doctors, the attorneys, the leader. Then we arrived in England, with nothing, and I was a minority. I was painfully reserved. My teachers said I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … all that gave me a dual identity on the inside and the outside."

Contrary to the popular image of industry figures as loud and highly strung, Enninful is calm and projects peace. His life has included its share of adversity, including well-documented periods of mental health and addiction.

He has also undergone significant health issues, having had multiple operations on his eyes, leading to impaired eyesight. "I endured such a time of fear for two years, not working, terrified I was going to go blind. 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 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 typecast has led him away from the realm that established him. He is now organising a significant 1990s exhibition at Tate Britain, showcasing work by a group of influential artists and photographers from the era. The show, he says, aims to evoke the decade's artistic collaboration – and give platform to those who did not receive a spotlight at the time.

"Institutions didn't always shine a light on the most relevant talents because they did not have the expected background," he states.

This project itself operates on a different approach, eschewing traditional advertising in favour of partnership-based projects. "We ask, what can we do together? Is it an experience, a podcast? The magazine is a piece within a greater ecosystem."

Looking Forward Without Fear

Now, Enninful stands as one of the world's most influential industry leaders. His story, he states, is a proof to the power of defying expectations.

What would the younger Edward react to the Edward of today? He smiles. "He’d be in shock, but he’d be proud. Back then I was anti-establishment. I never imagined institutions like Tate were a place for someone like me."

He pauses. "I never take anything for granted. We lost our home, we left our homeland. I nearly lost my vision. So fear is not a factor. People have doubted me my whole career. But no obstacle is too great once I’ve decided to do something."