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

A serendipitous meeting on the London Underground in 1988 transformed the trajectory of a teenage Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the capital's vibrant 1990s creative scene, moving from model to stylist and, while still a teenager, becoming the style editor of the iconic i-D.

"That time was the height of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I understood we’d be close. We all socialised across disciplines. Friday became Saturday into Sunday. I yearn for that energy."

Although Enninful appears sentimental, he is far from alone. In recent times, a wistful romanticisation of the 1990s has become pervasive. However over the last thirty years, Enninful perceives a significant change. "In my view, we’re more divided now than we were in the 90s," he observes. "This isn't just this country – it’s worldwide."

Shifting Attitudes

This regression is difficult to overlook: the growth of far-right politics, the backlash against social awareness, and the return of narrow beauty standards. Replacing the optimism of the previous decade, currently a more divisive political figure stands as a potential leader. Furthermore, the Union Jack, once an symbol of national pride, has sparked debate once more.

According to Enninful, the solution has always been to celebrate culture in all its diversity. 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 broad spectrum of influential figures from art.

"Individuals with a platform should use it," he says, discussing those editorial decisions. "There is much discussion about immigration; I would not be in this position if Britain hadn't been a open country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I cherished. I believe this phase will end."

The Younger Generation's Awareness

He draws solace in the youth of today: "They are far more conscious than we were. They discuss systemic issues – I was not even aware what that was."

Those early experiences would forge a trailblazing career built on boldness and inclusivity. Enninful made history as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His time featured landmark covers showcasing people of diverse backgrounds, curvy models, an octogenarian, and individuals from all walks of life. Importantly, sales grew.

"To overlook huge sections of the population, it’s not just that you’re not being inclusive – it’s a poor strategy," he explains.

Beyond the Magazine World

He has since founded his new venture EE72 and its flagship publication, 72, his key endeavour since leaving his former post. He expresses a desire to continue being a "change-maker".

"My nature is to challenge the status quo. I was born and 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 subject to police stops the suspicion laws … those experiences gave me a dual identity between worlds."

Contrary to the caricature of industry figures as loud and temperamental, Enninful is calm and exudes calm. His life has not been immune to hardship, including openly discussed battles with mental health and addiction.

He has also endured significant health issues, having had multiple operations on his eyes, leading to partial sight. "I experienced such a difficult period for two years, not working, fearing 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 passes, I’m just going to pursue all that I was so scared to do. I’m not going to restrict myself to just being an editor or a fashion person."

A Foray into Curation

This refusal to fit into a box has led him outside the industry that built his career. He is now curating a seminal 1990s exhibition at Tate Britain, bringing together work by a host of pivotal artists and photographers from the era. The show, he notes, aims to capture the decade's artistic collaboration – and highlight those who did not receive due recognition at the time.

"The establishment sometimes neglected to celebrate the truly innovative creators because they did not have the traditional credentials," he states.

The magazine 72 itself functions with a unique approach, eschewing traditional advertising in favour of creative collaborations. "Our approach is, what can we do together? Is it an event, a series? The magazine is one component of a larger creative platform."

A Testament to Resilience

Today, Enninful operates as one of the world's most influential industry leaders. His journey, he feels, is a proof to the power of pursuing your passions.

What would the Edward of the 90s think of the man he has become? He smiles. "He would be astonished, but he’d be proud. In those days I was a rebel. I never imagined institutions like Tate were within my reach."

He pauses. "Nothing is assumed. We were displaced, we fled our country. I came close to losing my vision. So fear isn't an option. People have doubted me my entire life. But nothing can stop me once I’ve decided to do something."