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

A serendipitous meeting while riding the tube in 1988 changed forever the trajectory of a young Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the London's electric 1990s creative scene, moving from model to stylist and, while still a teenager, becoming the fashion director of the publication i-D.

"That era was the height of the YBA movement – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I knew we’d be close. We all mixed across disciplines. Friday bled into Saturday into Sunday. I yearn for that spontaneity."

Although Enninful appears nostalgic, he is not the only one. Recently, a fond idealisation of the 1990s has grown intense. Yet since that time, Enninful believes a noticeable regression. "In my view, we’re more divided now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s everywhere."

A Perceived Regression

This regression is difficult to overlook: the rise of far-right politics, the backlash against social awareness, and the reinforcement of Eurocentric beauty standards. Where once there was the hope of the Blair era, now a more divisive political figure looms as a potential leader. Even, the British flag, once an emblem of national pride, has become contentious again.

According to Enninful, the solution has always been to celebrate culture in all its multifaceted forms. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a broad spectrum of influential figures from politics.

"Those in a position of influence should use it," he asserts, explaining those publishing choices. "There is much discussion about immigration; I wouldn't be here if Britain hadn't been a open country, if it refused my family a home and an education. That’s the Britain I believed in. I trust this phase will pass."

The Younger Generation's Awareness

He finds hope in the next generation: "They are far more conscious than we were. They analyse systemic issues – I had no concept what that was."

Those early experiences would shape a trailblazing career built on fearlessness and representation. Enninful made history 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 diverse covers showcasing models of colour, curvy models, older individuals, and people from varied communities. Critically, sales grew.

"To overlook large portions of the population, it’s more than that you’re not being inclusive – it’s bad for business," he explains.

A New Chapter as a 'Disruptor'

He has since founded his agency EE72 and its flagship publication, 72, his first major project since moving on from his previous role. He expresses a desire to continue being a "change-maker".

"My nature is to challenge the established norms. I was raised in a place where everybody was black – the doctors, the lawyers, the president. Then we came to England, penniless, and I became the 'other'. I was very shy. My teachers declared I’d have no future. Me and my brothers were subject to police stops the Sus laws … this duality gave me a sense of being on the inside and the outside."

In contrast to the caricature of industry figures as brash and temperamental, Enninful is measured in tone and exudes calm. His life has involved hardship, including well-documented struggles with depression and substance use.

He has also undergone significant health challenges, having undergone several surgeries on his eyes, now leaving him with partial sight. "I experienced such a dark place for two years, not working, anxious I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I thought, if this ever passes, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to restrict myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This determination to fit into a box has inspired him away from the industry that made his name. He is now putting together a major 1990s exhibition at Tate Britain, showcasing work by a roster of influential artists and photographers from the era. The show, he explains, aims to capture the decade's artistic collaboration – and highlight those who lacked a spotlight at the time.

"Galleries often failed to promote the most relevant talents because they lacked the right pedigree," he states.

The magazine 72 itself uses a different approach, rejecting traditional advertising in favour of integrated partnerships. "We ask, what can we achieve in partnership? Is it an event, a series? The magazine is a piece within a broader vision."

A Testament to Resilience

Now, Enninful stands as one of the world's most influential creative power brokers. His path, he states, is a testament to the power of following your instincts.

What would the younger Edward make of the man he has become? He laughs heartily. "He’d be in shock, but he’d be proud. At that time I was sceptical of institutions. I didn't think institutions like Tate were necessarily for me."

He reflects. "I never take anything for granted. We fled, we left our homeland. I came close to losing my vision. So fear is not a factor. People have doubted me my entire life. But I am unstoppable once I’ve made up my mind to do something."