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

A serendipitous meeting during a tube journey in 1988 transformed the path of a young Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the London's vibrant 1990s artistic milieu, evolving from mannequin to stylist and, while still a teenager, becoming the fashion director of the publication i-D.

"That time was the height of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I felt we’d be close. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I yearn for that rawness."

If Enninful sounds sentimental, he is far from alone. Recently, a fond idealisation of the 1990s has grown intense. But since that time, Enninful perceives a significant change. "I believe, we’re less accepting now than we were in the 90s," he says. "This isn't just this country – it’s everywhere."

Shifting Attitudes

This regression is difficult to overlook: the growth of nationalist groups, the reaction against progressive values, and the reinforcement of narrow beauty standards. Where once there was the optimism of the late 90s, today a different political personality appears as a possible leader. Even, the British flag, once an badge of cultural optimism, has become contentious again.

For Enninful, the solution has long been to promote culture in all its multifaceted forms. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a wide range of prominent faces from politics.

"Those in a position of influence should wield it," he asserts, explaining those editorial decisions. "There is much discussion about immigration; I wouldn't be here if Britain was not a welcoming country, if it did not offer my family a home and an education. That’s the Britain I cherished. I believe this phase will end."

The Younger Generation's Awareness

He finds hope in the next generation: "They are far more conscious than we were. They talk about systemic issues – I was not even aware what that was."

His formative years would forge a trailblazing career marked by fearlessness and representation. Enninful broke barriers as the first male, first Black editor, first gay man, and first disabled Black gay man to lead at British Vogue. His time featured landmark covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and people from all walks of life. Importantly, sales increased.

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

A New Chapter as a 'Disruptor'

He has established his agency EE72 and its accompanying magazine, 72, his key endeavour since leaving his previous role. He states his aim to continue being a "change-maker".

"I constantly interrogate the established norms. I was brought up in a place where everybody was black – the physicians, the lawyers, the leader. Then we arrived in England, without funds, and I was a minority. I was painfully reserved. My teachers predicted I’d achieve nothing. Me and my brothers were harassed under the Sus laws … this duality gave me a unique perspective on the inside and the outside."

Defying the caricature of industry figures as brash and highly strung, Enninful is softly spoken and projects peace. His path has included its share of adversity, including well-documented battles with depression and addiction.

He has also faced significant health challenges, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I experienced such a difficult period for two years, not working, terrified I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever ends, I’m just going to do everything that I was so scared to do. I’m not going to limit myself to just being an editor or a figure in fashion."

A Foray into Curation

This drive to be typecast has led him outside the world that established him. He is now organising 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 capture the decade's interdisciplinary energy – and highlight those who did not receive a spotlight at the time.

"Institutions sometimes neglected to celebrate the most relevant talents because they did not have the traditional credentials," he comments.

The magazine 72 itself functions with a unique strategy, rejecting traditional advertising in favour of integrated partnerships. "We ask, what can we achieve in partnership? Is it an event, a podcast? The magazine is a piece within a broader vision."

An Unstoppable Drive

Currently, Enninful stands as one of the world's most influential cultural influencers. His journey, he states, is a testament to the power of following your instincts.

How would the Enninful of that era think of the man he has become? He laughs heartily. "He would be astonished, 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. "Gratitude is key. We lost our home, we fled our country. I nearly lost my vision. So fear is not a factor. People have counted me out my whole career. But nothing can stop me once I’ve decided to do something."