Edward Enninful reflects on Modern Britain: 'We Are Less Tolerant Now' Compared to the Nineties.

An unexpected discovery on the London Underground in 1988 transformed the path of a young Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the London's buzzing 1990s cultural landscape, progressing from model to stylist and, by the age of 18, becoming the fashion director of the iconic i-D.

"That era was the zenith 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 knew we’d be kindred spirits. We all socialised across disciplines. Friday bled into Saturday into Sunday. I miss that energy."

If Enninful sounds sentimental, he is far from alone. Lately, a fond idealisation of the 1990s has reached fever pitch. However in the intervening decades, Enninful believes a significant change. "I feel, we’re less accepting now than we were in the 90s," he observes. "The issue extends beyond this country – it’s worldwide."

Shifting Attitudes

This regression is increasingly evident: the resurgence of nationalist groups, the reaction against so-called "wokeness", and the reinforcement of narrow beauty standards. Replacing the hope of the previous decade, now a different political personality appears as a possible leader. Even, the Union Jack, once an symbol of Cool Britannia, has sparked debate once more.

For Enninful, the response has consistently been to celebrate culture in all its multifaceted forms. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a wide range of prominent faces from music.

"Those in a position of influence should wield it," he comments, discussing those publishing choices. "There is much discussion about immigration; I would not be in this position if Britain were not a welcoming country, if it refused my family a refuge and an education. That’s the Britain I always loved. I believe this phase will pass."

Hope in the Next Generation

He draws solace in the younger generation: "They’re much more aware than we were. They discuss systemic issues – I didn't even know what that was."

The beginnings of his career would define a trailblazing career built on fearlessness and representation. Enninful made history as the first male, first Black editor, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His leadership featured diverse covers showcasing models of colour, curvy models, older individuals, and individuals from varied communities. Significantly, sales increased.

"When you ignore huge sections of the population, it’s more than that you’re not being inclusive – it’s commercially unwise," he states.

Launching a Creative Venture

He has recently launched his agency EE72 and its flagship publication, 72, his key endeavour since leaving his former post. He says he wants to continue being a "disruptor".

"My nature is to challenge the status quo. I was born and raised in a place where everybody was black – the physicians, the lawyers, the leader. Then we arrived in England, with nothing, and I found myself on the margins. I was painfully reserved. My teachers predicted I’d never amount to anything. Me and my brothers were harassed under the Sus laws … this duality gave me a dual identity on the inside and the outside."

Defying the popular image of industry figures as brash and temperamental, Enninful is softly spoken and exudes calm. His journey has not been immune to challenges, including well-documented battles with depression and substance use.

He has also faced serious health issues, having had multiple operations on his eyes, now leaving him with limited vision. "I endured such a time of fear for two years, away from work, fearing I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever passes, I’m just going to do everything that I was so afraid to do. I’m not going to confine myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This drive to be typecast has led him away from the world that made his name. He is now curating a significant 1990s exhibition at Tate Britain, featuring work by a host of pivotal artists and photographers from the era. The show, he says, aims to explore the decade's interdisciplinary energy – and spotlight those who weren't given due recognition at the time.

"Institutions didn't always shine a light on the truly innovative creators because they weren't of the traditional credentials," he observes.

The magazine 72 itself operates on a novel business model, forgoing traditional advertising in favour of partnership-based projects. "Our approach is, what can we create collaboratively? Is it an event, a podcast? The magazine is part of a broader vision."

An Unstoppable Drive

Currently, Enninful operates as one of the world's most powerful cultural influencers. His journey, he states, is a demonstration to the power of pursuing your passions.

What would the Enninful of that era react to the man he has become? He smiles. "It would be a surprise, but he’d be pleased. Back then I was a rebel. I never imagined institutions like Tate were necessarily for me."

He reflects. "Nothing is assumed. We fled, we fled our country. I nearly lost my vision. So fear is not a factor. People have doubted me my entire life. But no obstacle is too great once I’ve made up my mind to do something."