Edward Enninful reflects on Modern Britain: 'Britain Feels Less Tolerant Now' Than We Were Decades Ago.

A serendipitous meeting on the London Underground in 1988 altered the course of a teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the capital's buzzing 1990s cultural landscape, moving from model to stylist and, while still a teenager, becoming the style editor of the publication i-D.

"That era was the height of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I felt we’d be kindred spirits. We all socialised across disciplines. Friday became Saturday into Sunday. I long for that spontaneity."

While Enninful may seem sentimental, he is far from alone. Lately, a fond idealisation of the 1990s has become pervasive. Yet since that time, Enninful perceives a profound shift. "I believe, we’re more divided now than we were in the 90s," he remarks. "This isn't just this country – it’s everywhere."

A Cultural Backslide

This change is hard to ignore: the rise of nationalist groups, the reaction against so-called "wokeness", and the reinforcement of narrow beauty standards. Replacing the optimism of the Blair era, today a different political personality appears as a potential leader. Even, the Union Jack, once an emblem of cultural optimism, has sparked debate once more.

According to Enninful, the solution has consistently been to champion culture in all its variety. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a wide range of cultural icons from literature.

"Individuals with a platform should wield it," he comments, referring to those editorial decisions. "Everyone talks about immigration; I wouldn't be here 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 period will pass."

The Younger Generation's Awareness

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

His formative years would define a pioneering career characterised by boldness and inclusivity. Enninful set a precedent as the first male, first black man, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His time featured diverse covers showcasing Black models, curvy models, an octogenarian, and individuals from varied communities. Significantly, sales increased.

"When you ignore huge sections of the population, it’s not just that you’re excluding people – it’s bad for business," he states.

Launching a Creative Venture

He has since founded his agency EE72 and its flagship publication, 72, his premier initiative since departing his previous role. He expresses a desire to continue being a "innovator".

"I’ve always questioned the conventional wisdom. I was raised in a place where everybody was black – the doctors, the attorneys, the leader. Then we arrived in England, with nothing, and I was a minority. I was very shy. My teachers predicted I’d never amount to anything. Me and my brothers were harassed under the Sus laws … this duality gave me a dual identity both an insider and outsider."

Contrary to the popular image of fashion editors as loud and highly strung, Enninful is measured in tone and exudes calm. His path has involved challenges, including openly discussed battles with mental health and addiction.

He has also endured serious health issues, having had multiple operations on his eyes, resulting in partial sight. "I experienced such a time of fear for two years, not working, fearing I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I vowed, if this ever ends, I’m just going to do everything that I was so scared to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This determination to be defined narrowly has led him away from the industry that established him. He is now putting together a major 1990s exhibition at Tate Britain, showcasing work by a host of influential artists and photographers from the era. The show, he says, aims to explore the decade's artistic collaboration – and give platform to those who lacked a spotlight at the time.

"The establishment didn't always shine a light on the truly innovative creators because they did not have the expected background," he states.

This venture itself uses a novel business model, forgoing traditional advertising in favour of partnership-based projects. "The question is, what can we achieve in partnership? Is it an event, a podcast? The magazine is part of a larger creative platform."

An Unstoppable Drive

Today, Enninful operates as one of the world's most powerful cultural influencers. His story, he states, is a testament to the power of pursuing your passions.

How would the Edward of the 90s think of the his current self? He laughs heartily. "He’d be in shock, but he’d be pleased. In those days I was sceptical of institutions. I never imagined institutions like Tate were necessarily for me."

He reflects. "I never take anything for granted. We were displaced, we fled our country. I almost lost my vision. So fear isn't an option. People have doubted me my whole career. But no obstacle is too great once I’ve decided to do something."