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

An unexpected discovery while riding the tube in 1988 transformed the path of a young Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the London's vibrant 1990s cultural landscape, evolving from model to stylist and, before turning twenty, becoming the style editor of the publication i-D.

"It was the peak of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I knew we’d be great friends. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I yearn for that energy."

While Enninful may seem sentimental, he is far from alone. Recently, a fond idealisation of the 1990s has grown intense. Yet in the intervening decades, Enninful feels a profound shift. "I feel, we’re less tolerant now than we were in the 90s," he says. "The issue extends beyond this country – it’s a global phenomenon."

A Perceived Regression

This regression is hard to ignore: the growth of populist movements, the reaction against so-called "wokeness", and the return of Eurocentric beauty standards. Replacing the hope of the previous decade, currently a different political force looms as a possible leader. Even, the Union Jack, once an badge of cultural optimism, has returned as a polarising symbol.

According to Enninful, the response has always been to champion culture in all its variety. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a wide range of prominent faces from art.

"Individuals with a platform should use it," he says, referring to those editorial decisions. "Everyone talks about immigration; I could not have had this life if Britain hadn't been a open country, if it did not offer my family a refuge and an opportunity. That’s the Britain I cherished. I believe this moment will pass."

Hope in the Next Generation

He finds hope in the younger generation: "They are far more conscious than we were. They talk about implicit prejudice – I didn't even know what that was."

His formative years would forge a groundbreaking career characterised by boldness and diversity. Enninful set a precedent as the first male, first black man, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His tenure featured historic front pages showcasing people of diverse backgrounds, plus-sized women, older individuals, and people from all walks of life. Significantly, sales increased.

"To overlook vast segments of the population, it’s not just that you’re excluding people – it’s bad for business," he emphasises.

Beyond the Magazine World

He has established his creative company EE72 and its flagship publication, 72, his key endeavour since moving on from his previous role. He states his aim to continue being a "change-maker".

"I constantly interrogate the conventional wisdom. I was raised in a place where everybody was black – the doctors, the lawyers, the president. Then we arrived in England, penniless, and I was a minority. I was incredibly timid. My teachers said I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … those experiences gave me a sense of being between worlds."

In contrast to the stereotype of fashion editors as loud and temperamental, Enninful is calm and projects peace. His life has not been immune to adversity, including publicly shared periods of depression and addiction.

He has also faced significant health challenges, having had multiple operations on his eyes, leading to limited vision. "I experienced such a difficult period for two years, not working, anxious I was going to go blind. It’s comparable to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever is over, I’m just going to pursue all that I was so scared to do. I’m not going to limit myself to just being an editor or a fashion person."

A Foray into Curation

This drive to be defined narrowly has inspired him away from the realm that built his career. He is now organising a significant 1990s exhibition at Tate Britain, bringing together work by a group of pivotal artists and photographers from the era. The show, he explains, aims to evoke the decade's artistic collaboration – and highlight those who lacked due recognition at the time.

"Galleries sometimes neglected to shine a light on the truly innovative creators because they did not have the right pedigree," he states.

This project itself uses a novel business model, forgoing 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 part of a broader vision."

A Testament to Resilience

Currently, Enninful stands as one of the world's most respected cultural influencers. His journey, he states, is a demonstration to the power of defying expectations.

How would the Edward of the 90s make of the his current self? He smiles. "He’d be in shock, but he’d be pleased. In those days I was a rebel. I never imagined institutions like Tate were necessarily for me."

He reflects. "Gratitude is key. We fled, we fled our country. I almost lost my vision. So fear is not a factor. People have doubted me my entire life. But no obstacle is too great once I’ve set my intention to do something."