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

A chance encounter while riding the tube in 1988 altered the course of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was quickly drawn into the capital's electric 1990s artistic milieu, progressing from model to stylist and, by the age of 18, becoming the fashion director of i-D magazine.

"It was the height of the Britart scene – Tracey Emin, Jay Jopling. 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 mixed across disciplines. Friday rolled into Saturday into Sunday. I long for that energy."

If Enninful sounds sentimental, he is in good company. Lately, a fond idealisation of the 1990s has grown intense. But in the intervening decades, Enninful feels a noticeable regression. "I feel, we’re less tolerant now than we were in the 90s," he says. "This isn't just this country – it’s worldwide."

Shifting Attitudes

This regression is difficult to overlook: the growth of far-right politics, the backlash against so-called "wokeness", and the return of traditional beauty standards. In place of the optimism of the previous decade, today a different political force appears as a possible leader. Furthermore, the Union Jack, once an symbol of cultural optimism, has become contentious again.

In Enninful's view, the antidote has always been to promote culture in all its diversity. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a diverse array of influential figures from literature.

"People with a voice should use it," he asserts, referring to those publishing choices. "Everyone talks about immigration; I could not have had this life if Britain were not a open country, if it refused my family a home and an opportunity. That’s the Britain I always loved. I hope this phase will pass."

A New Wave of Consciousness

He draws solace in the next generation: "Their awareness is greater than we were. They discuss unconscious bias – I didn't even know what that was."

His formative years would define a trailblazing career characterised by boldness and diversity. Enninful set a precedent as the first male, first Black editor, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His tenure featured diverse covers showcasing models of colour, plus-sized women, an octogenarian, and people from varied communities. Significantly, sales increased.

"Ignoring huge sections of the population, it’s more than that you’re not being inclusive – it’s a poor strategy," he emphasises.

Launching a Creative Venture

He has recently launched his new venture EE72 and its flagship publication, 72, his key endeavour since leaving his former post. He states his aim to continue being a "disruptor".

"I’ve always questioned the conventional wisdom. I was raised in a place where Black professionals were the norm – the physicians, the attorneys, the leader. Then we came to England, without funds, and I was a minority. I was incredibly timid. My teachers said I’d never amount to anything. Me and my brothers were harassed under the Sus laws … all that gave me a unique perspective between worlds."

Contrary to the caricature of fashion editors as brash and highly strung, Enninful is softly spoken and projects peace. His path has involved challenges, including well-documented struggles with depression and substance use.

He has also undergone serious health issues, having undergone several surgeries on his eyes, leading to impaired eyesight. "I was in such a time of fear for two years, away from work, 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 passes, I’m just going to pursue all that I was so scared to do. I’m not going to confine myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This drive to be defined narrowly has inspired him beyond the world that made his name. He is now organising a significant 1990s exhibition at Tate Britain, featuring work by a host of pivotal artists and photographers from the era. The show, he notes, aims to explore the decade's creative cross-pollination – and give platform to those who weren't given adequate attention at the time.

"Galleries didn't always promote the right artists because they did not have the right pedigree," he observes.

The magazine 72 itself uses a different strategy, rejecting 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."

An Unstoppable Drive

Currently, Enninful operates as one of the world's most influential creative power brokers. His path, he believes, is a proof to the power of following your instincts.

What would the Edward of the 90s think of the Edward of today? He chuckles. "It would be a surprise, but he’d be pleased. In those days I was anti-establishment. I never imagined institutions like Tate were a place for someone like me."

He adds. "Nothing is assumed. We lost our home, we left our homeland. I nearly lost my vision. So there is no room for fear. People have counted me out my entire life. But I am unstoppable once I’ve decided to do something."