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

A chance encounter on the London Underground in 1988 altered the path of a teenage Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the city's electric 1990s creative scene, progressing from model to stylist and, before turning twenty, becoming the style editor of i-D magazine.

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

While Enninful may seem nostalgic, he is not the only one. Recently, a wistful romanticisation of the 1990s has grown intense. Yet in the intervening decades, Enninful perceives a significant change. "I feel, we’re more divided now than we were in the 90s," he remarks. "It’s not even this country – it’s a global phenomenon."

A Perceived Regression

This shift is hard to ignore: the resurgence of far-right politics, the backlash against so-called "wokeness", and the reassertion of narrow beauty standards. In place of the optimism of the Blair era, currently a different political force stands as a potential leader. Furthermore, the Union Jack, once an symbol of Cool Britannia, has become contentious again.

For Enninful, the response has consistently been to celebrate culture in all its diversity. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a broad spectrum of prominent faces from music.

"Individuals with a platform should wield it," he asserts, referring to those editorial decisions. "Everyone talks 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 believed in. I hope this period will pass."

Hope in the Next Generation

He takes comfort in the younger generation: "They are far more conscious than we were. They analyse systemic issues – I was not even aware what that was."

Those early experiences would define a pioneering career built on fearlessness and representation. Enninful broke barriers as the first man, first black man, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His time featured diverse covers showcasing people of diverse backgrounds, curvy models, an octogenarian, and people from all walks of life. Critically, sales grew.

"To overlook huge sections of the population, it’s not just that you’re not being inclusive – it’s bad for business," he states.

Launching a Creative Venture

He has since founded his new venture EE72 and its accompanying magazine, 72, his first major project since departing his former post. He expresses a desire to continue being a "disruptor".

"I’ve always questioned the established norms. I was raised in a place where everybody was black – the doctors, the attorneys, the leader. Then we came to England, without funds, 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 between worlds."

Defying the caricature of fashion editors as brash and temperamental, Enninful is calm and exudes calm. His journey has not been immune to hardship, including well-documented battles with depression and addiction.

He has also undergone significant health issues, having had multiple operations on his eyes, leading to partial sight. "I was in such a dark place for two years, away from work, anxious I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I thought, if this ever is over, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This refusal to be typecast has propelled him outside the realm that made his name. He is now putting together a seminal 1990s exhibition at Tate Britain, bringing together work by a roster of influential artists and photographers from the era. The show, he says, aims to evoke the decade's interdisciplinary energy – and give platform to those who weren't given adequate attention at the time.

"Institutions sometimes neglected to celebrate the truly innovative creators because they lacked the right pedigree," he comments.

This venture itself functions with a novel approach, rejecting traditional advertising in favour of integrated partnerships. "We ask, what can we create collaboratively? Is it an event, a series? The magazine is part of a broader vision."

An Unstoppable Drive

Now, Enninful stands as one of the world's most respected creative power brokers. His journey, he believes, is a demonstration to the power of pursuing your passions.

What would the Edward of the 90s make of the Edward of today? He laughs heartily. "He’d be in shock, but he’d be pleased. Back then I was anti-establishment. I would not have believed institutions like Tate were a place for someone like me."

He reflects. "Gratitude is key. We fled, we left our homeland. I nearly lost my vision. So there is no room for fear. People have counted me out my whole career. But no obstacle is too great once I’ve made up my mind to do something."