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

A chance encounter during a tube journey in 1988 changed forever the trajectory of a young Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the city's buzzing 1990s cultural landscape, progressing from mannequin to stylist and, while still a teenager, becoming the style editor of the iconic i-D.

"It was the peak of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I felt we’d be great friends. We all socialised across disciplines. Friday became Saturday into Sunday. I yearn for that rawness."

While Enninful may seem wistful, he is far from alone. In recent times, a fond idealisation of the 1990s has reached fever pitch. Yet in the intervening decades, Enninful perceives a noticeable regression. "I feel, we’re less tolerant now than we were in the 90s," he remarks. "This isn't just this country – it’s a global phenomenon."

Shifting Attitudes

This shift is increasingly evident: the resurgence of nationalist groups, the backlash against so-called "wokeness", and the reassertion of Eurocentric beauty standards. In place of the hope of the Blair era, today a more divisive political figure stands as a potential leader. Even, the British flag, once an badge of Cool Britannia, has become contentious again.

For Enninful, the solution has always been to celebrate culture in all its variety. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a wide range of cultural icons from literature.

"Those in a position of influence should wield it," he comments, discussing those editorial decisions. "Everyone talks about immigration; I would not be in this position if Britain were not a lenient country, if it refused my family a home and an education. That’s the Britain I cherished. I believe this period will fade."

Hope in the Next Generation

He draws solace in the youth of today: "They’re much more aware than we were. They talk about unconscious bias – I didn't even know what that was."

His formative years would shape a trailblazing career built on boldness and diversity. Enninful set a precedent as the first male, first Black editor, first gay man, and first disabled gay man of colour to lead at British Vogue. His leadership featured historic front pages showcasing models of colour, plus-sized women, older individuals, and people from varied communities. Significantly, sales increased.

"When you ignore huge sections of the population, it’s not just that you’re not being inclusive – it’s a poor strategy," he emphasises.

Launching a Creative Venture

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

"I constantly interrogate the status quo. I was brought up in a place where Black professionals were the norm – the doctors, the attorneys, the leader. Then we arrived in England, with nothing, and I found myself on the margins. I was very shy. My teachers declared I’d have no future. Me and my brothers were harassed under the Sus laws … this duality gave me a sense of being on the inside and the outside."

Contrary to the caricature of fashion editors as loud and highly strung, Enninful is softly spoken and exudes calm. His path has included its share of challenges, including openly discussed battles with mental health and substance use.

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

A Foray into Curation

This drive to fit into a box has inspired him beyond the industry that established him. He is now curating a seminal 1990s exhibition at Tate Britain, bringing together work by a host of defining artists and photographers from the era. The show, he says, aims to evoke the decade's interdisciplinary energy – and spotlight those who lacked a spotlight at the time.

"Galleries sometimes neglected to promote the truly innovative creators because they lacked the traditional credentials," he states.

This venture itself operates on a unique strategy, eschewing traditional advertising in favour of integrated partnerships. "Our approach is, what can we create collaboratively? Is it an experience, a podcast? The magazine is part of a broader vision."

An Unstoppable Drive

Now, Enninful stands as one of the world's most powerful creative power brokers. His story, he feels, is a proof to the power of following your instincts.

What would the Edward of the 90s make of the Edward of today? He laughs heartily. "It would be a surprise, but he’d be pleased. Back then I was sceptical of institutions. I never imagined institutions like Tate were a place for someone like me."

He reflects. "I never take anything for granted. We fled, we left our homeland. 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 made up my mind to do something."