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

An unexpected discovery on the London Underground in 1988 transformed the path of a young Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was quickly drawn into the London's electric 1990s cultural landscape, evolving from model to stylist and, while still a teenager, becoming the fashion director of the publication i-D.

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

If Enninful sounds sentimental, he is far from alone. Lately, a longing look back of the 1990s has become pervasive. However over the last thirty years, Enninful perceives a noticeable regression. "In my view, we’re less accepting now than we were in the 90s," he says. "This isn't just this country – it’s everywhere."

A Cultural Backslide

This change is difficult to overlook: the growth of nationalist groups, the reaction against so-called "wokeness", and the reinforcement of Eurocentric beauty standards. Where once there was the optimism of the late 90s, currently a more divisive political figure appears 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 promote 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 portrait of modern Britain, featuring a wide range of cultural icons from music.

"Those in a position of influence should employ it," he says, discussing those publishing choices. "There is much discussion about immigration; I would not be in this position if Britain were not a welcoming country, if it refused my family a home and an opportunity. That’s the Britain I believed in. I hope this period will pass."

Hope in the Next Generation

He takes comfort in the younger generation: "Their awareness is greater than we were. They talk about unconscious bias – I had no concept what that was."

Those early experiences would forge a pioneering career built on boldness and representation. Enninful set a precedent as the first man, first black man, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His leadership featured historic front pages showcasing models of colour, plus-sized women, an octogenarian, and individuals from all walks of life. Significantly, sales rose.

"Ignoring large portions of the population, it’s not just that you’re not being inclusive – it’s commercially unwise," he explains.

Launching a Creative Venture

He has established his new venture EE72 and its accompanying magazine, 72, his key endeavour since departing his former post. He states his aim to continue being a "innovator".

"I’ve always questioned the status quo. I was born and raised in a place where the majority was Black – the physicians, the lawyers, the president. Then we arrived in England, without funds, and I was a minority. I was incredibly timid. My teachers predicted I’d achieve nothing. Me and my brothers were harassed under the suspicion laws … all that gave me a unique perspective on the inside and the outside."

Contrary to the popular image of fashion editors as brash and highly strung, Enninful is softly spoken and projects peace. His life has included its share of hardship, including openly discussed struggles with depression and substance use.

He has also endured serious health issues, having had multiple operations on his eyes, now leaving him with limited vision. "I experienced such a time of fear for two years, away from work, anxious 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 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."

A Foray into Curation

This refusal to be defined narrowly has propelled him away from the realm that built his career. He is now putting together a significant 1990s exhibition at Tate Britain, featuring work by a roster of defining artists and photographers from the era. The show, he says, aims to capture the decade's artistic collaboration – and give platform to those who weren't given a spotlight at the time.

"Institutions didn't always promote the right artists because they did not have the traditional credentials," he observes.

This project itself uses a novel approach, eschewing traditional advertising in favour of integrated partnerships. "The question is, what can we achieve in partnership? Is it an experience, a podcast? The magazine is one component of a larger creative platform."

An Unstoppable Drive

Today, Enninful stands as one of the world's most respected creative power brokers. His path, he feels, is a testament to the power of defying expectations.

What would the Enninful of that era think of the his current self? He smiles. "He’d be in shock, but he’d be proud. At that time I was a rebel. I would not have believed institutions like Tate were a place for someone like me."

He adds. "I never take anything for granted. 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 nothing can stop me once I’ve made up my mind to do something."