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

An unexpected discovery on the London Underground in 1988 altered the course of a teenage Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the city's buzzing 1990s creative scene, progressing from model to stylist and, while still a teenager, becoming the style editor of the publication i-D.

"That era was the zenith of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I knew we’d be close. We all socialised across disciplines. Friday became Saturday into Sunday. I long for that spontaneity."

If Enninful sounds nostalgic, he is far from alone. Lately, a wistful romanticisation of the 1990s has become pervasive. But over the last thirty years, Enninful believes a significant change. "In my view, we’re less accepting now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s everywhere."

A Perceived Regression

This change is hard to ignore: the growth of far-right politics, the pushback against so-called "wokeness", and the reinforcement of traditional beauty standards. Where once there was the optimism of the previous decade, now a different political personality appears as a potential leader. Even, the Union Jack, once an emblem of cultural optimism, has returned as a polarising symbol.

According to Enninful, the antidote has consistently been to promote culture in all its diversity. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a wide range of prominent faces from literature.

"Individuals with a platform should employ it," he comments, explaining those editorial decisions. "People often debate about immigration; I could not have had this life if Britain were not a lenient country, if it did not offer my family a home and an opportunity. That’s the Britain I cherished. I believe this phase will pass."

Hope in the Next Generation

He draws solace in the next generation: "They are far more conscious than we were. They talk about unconscious bias – I had no concept what that was."

Those early experiences would define a pioneering career characterised by fearlessness and inclusivity. Enninful broke barriers as the first male, first Black editor, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His leadership featured landmark covers showcasing Black models, plus-sized women, an octogenarian, and individuals from varied communities. Importantly, sales rose.

"To overlook huge sections of the population, it’s more than that you’re failing to represent – it’s bad for business," he emphasises.

Beyond the Magazine World

He has recently launched his creative company EE72 and its flagship publication, 72, his premier initiative since leaving his former post. He expresses a desire to continue being a "change-maker".

"My nature is to challenge the conventional wisdom. I was born and raised in a place where everybody was black – the physicians, the attorneys, the leader. Then we came to England, with nothing, and I was a minority. I was painfully reserved. My teachers said I’d achieve nothing. Me and my brothers were stopped by the police the suspicion laws … all that gave me a sense of being on the inside and the outside."

Defying the stereotype of fashion editors as brash and temperamental, Enninful is calm and projects peace. His journey has involved challenges, including publicly shared struggles with mental health and addiction.

He has also faced significant health challenges, having had multiple operations on his eyes, now leaving him with limited vision. "I experienced such a difficult period for two years, away from work, anxious I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I thought, if this ever ends, I’m just going to embrace every opportunity that I was so afraid 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 away from the realm that established him. He is now putting together a significant 1990s exhibition at Tate Britain, featuring work by a host of influential artists and photographers from the era. The show, he explains, aims to evoke the decade's interdisciplinary energy – and give platform to those who lacked due recognition at the time.

"Institutions sometimes neglected to shine a light on the most relevant talents because they weren't of the traditional credentials," he states.

This project itself operates on a unique approach, eschewing 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 a piece within a broader vision."

A Testament to Resilience

Today, Enninful is regarded as one of the world's most influential cultural influencers. His journey, he states, is a proof to the power of pursuing your passions.

How would the Edward of the 90s react to the his current self? He smiles. "It would be a surprise, but he’d be impressed. At that time I was a rebel. I would not have believed institutions like Tate were within my reach."

He pauses. "Nothing is assumed. We fled, we fled our country. I came close to losing my vision. So fear isn't an option. People have underestimated me my whole career. But nothing can stop me once I’ve made up my mind to do something."