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

An unexpected discovery during a tube journey in 1988 altered the course of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the city's vibrant 1990s cultural landscape, evolving from mannequin to stylist and, while still a teenager, becoming the fashion director of i-D magazine.

"That era was the peak of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I knew we’d be kindred spirits. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I long for that energy."

Although Enninful appears sentimental, he is far from alone. In recent times, a fond idealisation of the 1990s has reached fever pitch. Yet over the last thirty years, Enninful feels a profound shift. "I feel, we’re less accepting now than we were in the 90s," he observes. "The issue extends beyond this country – it’s worldwide."

A Cultural Backslide

This change is difficult to overlook: the rise of nationalist groups, the backlash against progressive values, and the reassertion of Eurocentric beauty standards. In place of the hope of the late 90s, currently a different political personality stands as a potential leader. Furthermore, the Union Jack, once an symbol of national pride, has sparked debate once more.

In Enninful's view, the response has always been to champion culture in all its variety. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a wide range of influential figures from art.

"Those in a position of influence should wield it," he asserts, discussing those publishing choices. "There is much discussion 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 education. That’s the Britain I believed in. I hope this phase will fade."

Hope in the Next Generation

He draws solace in the youth of today: "Their awareness is greater than we were. They analyse unconscious bias – I had no concept what that was."

The beginnings of his career would shape a trailblazing career marked by boldness and inclusivity. Enninful set a precedent as the first male, first black man, first gay man, and first disabled Black gay man to lead at British Vogue. His leadership featured landmark covers showcasing models of colour, curvy models, older individuals, and individuals from all walks of life. Critically, sales grew.

"Ignoring huge sections of the population, it’s more than that you’re excluding people – it’s commercially unwise," he emphasises.

A New Chapter as a 'Disruptor'

He has recently launched his creative company EE72 and its flagship publication, 72, his key endeavour since leaving his former post. He expresses a desire to continue being a "innovator".

"I’ve always questioned the status quo. I was brought up in a place where the majority was Black – the doctors, the lawyers, the president. Then we arrived in England, with nothing, and I became the 'other'. I was very shy. My teachers predicted I’d have no future. Me and my brothers were subject to police stops the Sus laws … those experiences gave me a sense of being both an insider and outsider."

Contrary to the caricature of industry figures as brash and highly strung, Enninful is calm and projects peace. His life has included its share of challenges, including publicly shared struggles with depression and substance use.

He has also undergone significant health challenges, having had multiple operations on his eyes, now leaving him with partial sight. "I was in such a difficult period for two years, not working, terrified I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I prayed, if this ever is over, I’m just going to do everything that I was so afraid to do. I’m not going to limit myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This determination to fit into a box has propelled him beyond the industry that built his career. He is now curating a significant 1990s exhibition at Tate Britain, featuring work by a host of influential artists and photographers from the era. The show, he notes, aims to evoke the decade's interdisciplinary energy – and give platform to those who lacked adequate attention at the time.

"The establishment sometimes neglected to celebrate the right artists because they did not have the expected background," he states.

This venture itself uses a novel business model, eschewing traditional advertising in favour of partnership-based projects. "Our approach is, what can we create collaboratively? Is it an experience, a series? The magazine is a piece within a larger creative platform."

A Testament to Resilience

Currently, Enninful is regarded as one of the world's most respected industry leaders. His path, he states, is a demonstration to the power of pursuing your passions.

How would the younger Edward make of the man he has become? He laughs heartily. "He would be astonished, but he’d be proud. Back then I was anti-establishment. I didn't think institutions like Tate were within my reach."

He adds. "I never take anything for granted. We were displaced, we left our homeland. I almost lost my vision. So fear is not a factor. People have underestimated me my whole career. But no obstacle is too great once I’ve set my intention to do something."