Edward Enninful discusses Modern Britain: 'Britain Feels Less Tolerant Now' Than in the 90s.

A serendipitous meeting on the London Underground in 1988 altered the path of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the capital's vibrant 1990s cultural landscape, progressing from model to stylist and, while still a teenager, becoming the fashion director of the publication i-D.

"That time was the peak of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I felt we’d be kindred spirits. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I miss that spontaneity."

While Enninful may seem sentimental, he is far from alone. Recently, a fond idealisation 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 says. "The issue extends beyond this country – it’s a global phenomenon."

Shifting Attitudes

This shift is increasingly evident: the resurgence of populist movements, the pushback against progressive values, and the return of narrow beauty standards. Where once there was the optimism of the late 90s, today a different political force stands as a possible leader. Even, the Union Jack, once an badge of national pride, has sparked debate once more.

For Enninful, the response has long been to celebrate culture in all its multifaceted forms. 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 broad spectrum of cultural icons from art.

"People with a voice should employ it," he comments, referring to those publishing choices. "Everyone talks about immigration; I would not be in this position if Britain were not a welcoming country, if it did not offer my family a home and an education. That’s the Britain I always loved. I believe this moment will pass."

Hope in the Next Generation

He draws solace in the next generation: "They’re much more aware than we were. They analyse implicit prejudice – I had no concept what that was."

The beginnings of his career would shape a pioneering career built on fearlessness and inclusivity. Enninful made history as the first male, first black man, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His time featured historic front pages showcasing models of colour, curvy models, an octogenarian, and people from varied communities. Significantly, sales rose.

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

Beyond the Magazine World

He has since founded his creative company EE72 and its flagship publication, 72, his key endeavour since leaving his previous role. He expresses a desire to continue being a "change-maker".

"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 came to England, with nothing, and I became the 'other'. I was very shy. My teachers declared I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … this duality gave me a sense of being between worlds."

Defying the popular image of fashion editors as loud and highly strung, Enninful is softly spoken and radiates serenity. His journey has included its share of adversity, including publicly shared struggles with depression and addiction.

He has also undergone serious health issues, having had multiple operations on his eyes, now leaving him with partial sight. "I experienced such a dark place for two years, not working, fearing I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever ends, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to restrict myself to just being an editor or a fashion person."

A Foray into Curation

This refusal to fit into a box has propelled him away from the world that established him. He is now organising 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 explore the decade's artistic collaboration – and highlight those who did not receive a spotlight at the time.

"The establishment sometimes neglected to shine a light on the truly innovative creators because they weren't of the right pedigree," he observes.

This venture itself functions with a different business model, eschewing traditional advertising in favour of integrated partnerships. "The question is, what can we achieve in partnership? Is it an event, a series? The magazine is part of a greater ecosystem."

A Testament to Resilience

Currently, Enninful operates as one of the world's most respected cultural influencers. His journey, he states, is a testament to the power of defying expectations.

What would the Enninful of that era think of the his current self? He smiles. "He’d be in shock, but he’d be proud. At that time I was anti-establishment. I never imagined institutions like Tate were a place for someone like me."

He adds. "Nothing is assumed. We lost our home, we fled our country. I nearly lost my vision. So fear is not a factor. People have counted me out my whole career. But no obstacle is too great once I’ve made up my mind to do something."