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

A chance encounter while riding the tube in 1988 transformed the path of a young Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the London's vibrant 1990s artistic milieu, moving from mannequin to stylist and, by the age of 18, becoming the style editor of the publication i-D.

"It was the height of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I felt we’d be kindred spirits. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I long for that rawness."

Although Enninful appears sentimental, he is not the only one. In recent times, a wistful romanticisation of the 1990s has grown intense. But in the intervening decades, Enninful believes a significant change. "In my view, we’re less tolerant now than we were in the 90s," he remarks. "It’s not even this country – it’s worldwide."

Shifting Attitudes

This regression is difficult to overlook: the growth of nationalist groups, the reaction against social awareness, and the reinforcement of Eurocentric beauty standards. Where once there was the optimism of the late 90s, currently a more divisive political force appears as a possible leader. Furthermore, the British flag, once an emblem of Cool Britannia, has returned as a polarising symbol.

For Enninful, the response has always been to celebrate culture in all its diversity. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a diverse array of influential figures from literature.

"People with a voice should use it," he says, discussing those editorial decisions. "People often debate about immigration; I would not be in this position if Britain hadn't been a open country, if it did not offer my family a home and an education. That’s the Britain I cherished. I trust this period will pass."

A New Wave of Consciousness

He finds hope in the next generation: "They’re much more aware than we were. They analyse systemic issues – I didn't even know what that was."

The beginnings of his career would forge a groundbreaking career built on fearlessness and inclusivity. 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 time featured historic front pages showcasing Black models, plus-sized women, an octogenarian, and individuals from all walks of life. Critically, sales grew.

"Ignoring huge sections of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he emphasises.

A New Chapter as a 'Disruptor'

He has established his new venture EE72 and its flagship publication, 72, his first major project since moving on from his former post. He expresses a desire to continue being a "disruptor".

"My nature is to challenge the established norms. I was raised in a place where Black professionals were the norm – the doctors, the lawyers, the leader. Then we arrived in England, penniless, and I became the 'other'. I was painfully reserved. My teachers declared 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 highly strung, Enninful is measured in tone and projects peace. His path has included its share of hardship, including openly discussed battles with mental health and addiction.

He has also faced serious health challenges, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I was in such a dark place for two years, not working, terrified I was going to go blind. It’s like PTSD; you just live in fear 24/7. I prayed, if this ever is over, 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."

A Foray into Curation

This drive to be defined narrowly has inspired him outside the world that made his name. He is now putting together 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 artistic collaboration – and highlight those who did not receive a spotlight at the time.

"Institutions often failed to promote the truly innovative creators because they weren't of the right pedigree," he observes.

This project itself uses a unique strategy, eschewing traditional advertising in favour of integrated partnerships. "The question is, what can we achieve in partnership? Is it an experience, a series? The magazine is part of a greater ecosystem."

Looking Forward Without Fear

Currently, Enninful operates as one of the world's most powerful industry leaders. His path, he states, is a testament to the power of pursuing your passions.

How would the Edward of the 90s think of the man he has become? He smiles. "He would be astonished, but he’d be pleased. At that time I was a rebel. I never imagined institutions like Tate were necessarily for me."

He adds. "I never take anything for granted. We were displaced, we left our homeland. I almost lost my vision. So fear isn't an option. People have counted me out my entire life. But I am unstoppable once I’ve made up my mind to do something."