Edward Enninful discusses Modern Britain: 'Britain Feels Less Tolerant Now' Than in the 90s.

An unexpected discovery while riding the tube in 1988 transformed the trajectory of a young Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the London's buzzing 1990s cultural landscape, progressing from mannequin to stylist and, while still a teenager, becoming the fashion director of i-D magazine.

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

If Enninful sounds wistful, he is far from alone. Recently, a wistful romanticisation of the 1990s has reached fever pitch. However over the last thirty years, Enninful believes a profound shift. "I feel, we’re less accepting now than we were in the 90s," he says. "It’s not even this country – it’s everywhere."

A Cultural Backslide

This shift is difficult to overlook: the growth of far-right politics, the backlash against so-called "wokeness", and the return of Eurocentric beauty standards. Replacing the optimism of the previous decade, now a different political figure appears as a potential leader. Even, the Union Jack, once an badge of national pride, has become contentious again.

For Enninful, the antidote has always been to promote 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 portrait of modern Britain, featuring a wide range of prominent faces from music.

"Individuals with a platform should use it," he asserts, referring to those editorial decisions. "There is much discussion about immigration; I would not be in this position if Britain were not a open country, if it did not offer my family a home and an opportunity. That’s the Britain I always loved. I trust this moment will fade."

Hope in the Next Generation

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

His formative years would forge a groundbreaking career characterised by fearlessness and representation. Enninful broke barriers as the first man, first black man, first gay man, and first disabled Black gay man to lead at British Vogue. His tenure featured historic front pages showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and people from varied communities. Importantly, sales grew.

"To overlook vast segments of the population, it’s more than that you’re failing to represent – it’s a poor strategy," he states.

Launching a Creative Venture

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

"I’ve always questioned the established norms. I was born and raised in a place where Black professionals were the norm – the doctors, the attorneys, the president. Then we arrived in England, with nothing, and I was a minority. I was very shy. My teachers predicted I’d achieve nothing. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a unique perspective on the inside and the outside."

In contrast to the popular image of fashion editors as brash and temperamental, Enninful is softly spoken and projects peace. His journey has involved hardship, including well-documented periods of depression and addiction.

He has also endured significant health challenges, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I endured such a difficult period for two years, away from work, anxious I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever ends, I’m just going to do everything 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 fit into a box has led him outside the world that established him. He is now organising a major 1990s exhibition at Tate Britain, showcasing work by a roster of defining artists and photographers from the era. The show, he notes, aims to explore the decade's creative cross-pollination – and highlight those who weren't given a spotlight at the time.

"The establishment often failed to shine a light on the right artists because they did not have the expected background," he comments.

This project itself operates on a different business model, eschewing traditional advertising in favour of creative collaborations. "Our approach is, what can we do together? Is it an experience, a series? The magazine is part of a broader vision."

Looking Forward Without Fear

Now, Enninful operates as one of the world's most influential industry leaders. His path, he believes, is a proof to the power of defying expectations.

What would the younger Edward think of the his current self? He smiles. "He would be astonished, but he’d be impressed. Back then I was sceptical of institutions. I would not have believed institutions like Tate were necessarily for me."

He adds. "I never take anything for granted. We lost our home, we fled our country. I almost lost my vision. So fear is not a factor. People have doubted me my entire life. But I am unstoppable once I’ve decided to do something."