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

An unexpected discovery during a tube journey in 1988 changed forever the path of a young Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was quickly drawn into the London's electric 1990s artistic milieu, moving from model to stylist and, while still a teenager, becoming the style editor of i-D magazine.

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

While Enninful may seem wistful, he is far from alone. In recent times, a fond idealisation of the 1990s has grown intense. But since that time, Enninful feels 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 worldwide."

A Cultural Backslide

This shift is difficult to overlook: the rise of populist movements, the reaction against social awareness, and the reassertion of narrow beauty standards. Where once there was the optimism of the late 90s, currently a different political personality looms as a possible leader. Even, the British flag, once an badge of national pride, has sparked debate once more.

In Enninful's view, the solution has long been to promote culture in all its multifaceted forms. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a broad spectrum of cultural icons from art.

"Individuals with a platform should employ it," he says, explaining those editorial decisions. "People often debate about immigration; I could not have had this life if Britain hadn't been a lenient country, if it did not offer my family a home and an opportunity. That’s the Britain I cherished. I hope this period will fade."

Hope in the Next Generation

He takes comfort in the younger generation: "They’re much more aware than we were. They talk about implicit prejudice – I was not even aware what that was."

The beginnings of his career would forge a trailblazing career marked by boldness and diversity. Enninful made history as the first male, first black man, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His leadership featured diverse covers showcasing people of diverse backgrounds, curvy models, older individuals, and people from varied communities. Importantly, sales grew.

"Ignoring vast segments of the population, it’s not just that you’re failing to represent – it’s commercially unwise," he emphasises.

Launching a Creative Venture

He has since founded his creative company EE72 and its accompanying magazine, 72, his premier initiative since leaving his previous role. He expresses a desire to continue being a "innovator".

"My nature is to challenge the status quo. I was raised in a place where the majority was Black – the doctors, the lawyers, the president. Then we came to England, penniless, and I became the 'other'. I was painfully reserved. My teachers declared I’d achieve nothing. Me and my brothers were subject to police stops the Sus laws … all that gave me a sense of being both an insider and outsider."

Defying the caricature of industry figures as brash and temperamental, Enninful is calm and projects peace. His life has involved challenges, including well-documented battles with mental health and substance use.

He has also endured significant health challenges, having had multiple operations on his eyes, resulting in partial sight. "I experienced such a difficult period for two years, away from work, anxious I was going to lose my sight. It’s comparable to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever ends, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to confine myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This refusal to be defined narrowly has inspired him outside the industry that established him. He is now organising a significant 1990s exhibition at Tate Britain, featuring work by a host of defining artists and photographers from the era. The show, he explains, aims to evoke the decade's artistic collaboration – and spotlight those who did not receive due recognition at the time.

"The establishment sometimes neglected to shine a light on the truly innovative creators because they did not have the traditional credentials," he observes.

This venture itself functions with a novel strategy, rejecting traditional advertising in favour of creative collaborations. "The question is, what can we achieve in partnership? Is it an experience, a podcast? The magazine is one component of a broader vision."

Looking Forward Without Fear

Now, Enninful stands as one of the world's most influential cultural influencers. His path, he believes, is a demonstration to the power of pursuing your passions.

What would the younger Edward react to the Edward of today? He chuckles. "He would be astonished, but he’d be proud. In those days I was a rebel. I never imagined institutions like Tate were a place for someone like me."

He pauses. "Gratitude is key. We were displaced, we fled our country. I almost lost my vision. So there is no room for fear. People have doubted me my entire life. But no obstacle is too great once I’ve made up my mind to do something."