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

A serendipitous meeting on the London Underground in 1988 changed forever the trajectory of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the London's electric 1990s cultural landscape, evolving from mannequin to stylist and, by the age of 18, becoming the fashion director of i-D magazine.

"That era was the height of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I understood we’d be great friends. We all mixed across disciplines. Friday became Saturday into Sunday. I long for that spontaneity."

If Enninful sounds sentimental, he is in good company. Recently, a longing look back of the 1990s has become pervasive. However since that time, Enninful feels a noticeable regression. "In my view, we’re less accepting now than we were in the 90s," he says. "The issue extends beyond this country – it’s everywhere."

A Cultural Backslide

This regression is hard to ignore: the resurgence of nationalist groups, the pushback against so-called "wokeness", and the return of Eurocentric beauty standards. In place of the hope of the Blair era, currently a different political figure looms as a potential leader. Even, the British flag, once an badge of national pride, has sparked debate once more.

For Enninful, the solution has consistently been to champion culture in all its diversity. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a broad spectrum of cultural icons from politics.

"People with a voice should employ it," he asserts, discussing those publishing choices. "People often debate about immigration; I would not be in this position if Britain was not a open country, if it did not offer my family a home and an education. That’s the Britain I cherished. I believe this phase will end."

Hope in the Next Generation

He finds hope in the younger generation: "They’re much more aware than we were. They talk about unconscious bias – I was not even aware what that was."

Those early experiences would shape a groundbreaking career built on fearlessness and inclusivity. Enninful made history 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 time featured diverse covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and people from all walks of life. Significantly, sales grew.

"Ignoring 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 established his agency EE72 and its accompanying magazine, 72, his first major project since moving on from his previous role. He states his aim to continue being a "change-maker".

"I constantly interrogate the status quo. I was born and raised in a place where everybody was black – the physicians, the attorneys, the leader. Then we came to England, without funds, and I was a minority. I was very shy. My teachers predicted I’d achieve nothing. Me and my brothers were subject to police stops the Sus laws … those experiences gave me a unique perspective both an insider and outsider."

Defying the caricature of industry figures as brash and temperamental, Enninful is softly spoken and projects peace. His life has not been immune to challenges, including openly discussed periods of depression and substance use.

He has also undergone serious health issues, having undergone several surgeries on his eyes, now leaving him with partial sight. "I was in such a dark place for two years, not working, terrified I was going to go blind. It’s comparable to PTSD; you just exist in a state of dread 24/7. I thought, if this ever passes, I’m just going to do everything that I was so afraid to do. I’m not going to limit 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 outside the world that established him. He is now organising a seminal 1990s exhibition at Tate Britain, bringing together work by a group of influential artists and photographers from the era. The show, he says, aims to capture the decade's interdisciplinary energy – and give platform to those who lacked adequate attention at the time.

"The establishment didn't always promote the most relevant talents because they lacked the right pedigree," he observes.

The magazine 72 itself functions with a novel business model, rejecting traditional advertising in favour of integrated partnerships. "The question is, what can we achieve in partnership? Is it an experience, a podcast? The magazine is part of a greater ecosystem."

A Testament to Resilience

Today, Enninful is regarded as one of the world's most powerful creative power brokers. His path, he feels, is a testament to the power of defying expectations.

How would the younger Edward think of the his current self? He chuckles. "It would be a surprise, but he’d be proud. Back then I was sceptical of institutions. I never imagined institutions like Tate were a place for someone like me."

He pauses. "Gratitude is key. We fled, we left our homeland. I came close to losing my vision. So there is no room for fear. People have underestimated me my entire life. But I am unstoppable once I’ve set my intention to do something."