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

A chance encounter on the London Underground in 1988 transformed the path of a young Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the capital's buzzing 1990s creative scene, progressing from model to stylist and, before turning twenty, becoming the fashion director of the publication i-D.

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

While Enninful may seem nostalgic, he is in good company. In recent times, a longing look back of the 1990s has reached fever pitch. Yet in the intervening decades, Enninful believes a noticeable regression. "I believe, we’re less accepting now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s worldwide."

Shifting Attitudes

This shift is increasingly evident: the growth of nationalist groups, the pushback against progressive values, and the return of traditional beauty standards. In place of the hope of the Blair era, now a more divisive political figure stands as a potential leader. Furthermore, the British flag, once an symbol of national pride, has become contentious again.

In Enninful's view, the solution has long been to champion culture in all its multifaceted forms. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a broad spectrum of cultural icons from art.

"Those in a position of influence should employ it," he asserts, discussing those publishing choices. "Everyone talks about immigration; I would not be in this position if Britain hadn't been a lenient country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I believed in. I trust this period will end."

A New Wave of Consciousness

He takes comfort in the youth of today: "They’re much more aware than we were. They discuss systemic issues – I was not even aware what that was."

Those early experiences would define a pioneering career characterised by fearlessness and inclusivity. 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 time featured historic front pages showcasing Black models, curvy models, older individuals, and individuals from all walks of life. Critically, sales increased.

"Ignoring large portions of the population, it’s more than that you’re excluding people – it’s bad for business," he explains.

A New Chapter as a 'Disruptor'

He has established his new venture EE72 and its flagship publication, 72, his key endeavour since moving on from his previous role. He states his aim to continue being a "innovator".

"My nature is to challenge the conventional wisdom. I was born and raised in a place where Black professionals were the norm – the doctors, the lawyers, the president. Then we arrived in England, with nothing, and I became the 'other'. I was painfully reserved. My teachers declared I’d never amount to anything. Me and my brothers were stopped by the police the suspicion laws … all that gave me a dual identity on the inside and the outside."

Defying the stereotype of industry figures as loud and highly strung, Enninful is measured in tone and projects peace. His journey has included its share of adversity, including openly discussed struggles with mental health and addiction.

He has also undergone significant health challenges, having had multiple operations on his eyes, resulting in impaired eyesight. "I endured such a dark place for two years, not working, fearing I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I vowed, if this ever ends, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to limit myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This refusal to be typecast has led him away from the industry that made his name. He is now curating a significant 1990s exhibition at Tate Britain, bringing together work by a group of defining artists and photographers from the era. The show, he notes, aims to evoke the decade's artistic collaboration – and give platform to those who weren't given due recognition at the time.

"The establishment sometimes neglected to shine a light on the truly innovative creators because they weren't of the traditional credentials," he comments.

This venture itself operates on a novel strategy, eschewing traditional advertising in favour of partnership-based projects. "The question is, what can we create collaboratively? Is it an experience, a podcast? The magazine is part of a greater ecosystem."

Looking Forward Without Fear

Currently, Enninful is regarded as one of the world's most powerful cultural influencers. His journey, he believes, is a proof to the power of defying expectations.

How would the Edward of the 90s make of the Edward of today? He chuckles. "He would be astonished, but he’d be proud. Back then I was anti-establishment. I would not have believed institutions like Tate were within my reach."

He reflects. "Gratitude is key. We fled, we fled our country. I almost lost my vision. So fear isn't an option. People have doubted me my entire life. But no obstacle is too great once I’ve decided to do something."