Edward Enninful discusses Modern Britain: 'We Are Less Tolerant Now' Than We Were Decades Ago.

An unexpected discovery during a tube journey in 1988 altered the path of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the city's buzzing 1990s creative scene, progressing from mannequin to stylist and, while still a teenager, becoming the fashion director of i-D magazine.

"That era was the peak of the Young British Artists – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I understood we’d be close. We all hung out across disciplines. Friday bled into Saturday into Sunday. I miss that rawness."

While Enninful may seem nostalgic, he is not the only one. Recently, a wistful romanticisation of the 1990s has grown intense. Yet in the intervening decades, Enninful perceives a noticeable regression. "I feel, we’re less tolerant now than we were in the 90s," he observes. "The issue extends beyond this country – it’s a global phenomenon."

A Perceived Regression

This change is difficult to overlook: the rise of far-right politics, the backlash against so-called "wokeness", and the reinforcement of traditional beauty standards. Where once there was the optimism of the late 90s, currently a more divisive political figure looms as a possible leader. Even, the Union Jack, once an symbol of Cool Britannia, has sparked debate once more.

According to Enninful, the antidote has consistently been to celebrate culture in all its multifaceted forms. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a diverse array of cultural icons from literature.

"Those in a position of influence should wield it," he asserts, referring to those editorial decisions. "There is much discussion about immigration; I would not be in this position if Britain was not a open country, if it did not offer my family a refuge and an opportunity. That’s the Britain I always loved. I believe this period will end."

Hope in the Next Generation

He takes comfort in the younger generation: "They are far more conscious than we were. They analyse implicit prejudice – I was not even aware what that was."

His formative years would define a pioneering career marked by boldness and inclusivity. Enninful made history as the first man, first black man, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His tenure featured historic front pages showcasing people of diverse backgrounds, curvy models, older individuals, and people from all walks of life. Critically, sales rose.

"When you ignore large portions of the population, it’s not just that you’re excluding people – it’s bad for business," he states.

A New Chapter as a 'Disruptor'

He has established his agency EE72 and its accompanying magazine, 72, his first major project since departing his former post. He states his aim to continue being a "change-maker".

"I constantly interrogate the conventional wisdom. I was raised in a place where the majority was Black – the doctors, the lawyers, the president. Then we came to England, with nothing, and I became the 'other'. I was incredibly timid. My teachers predicted I’d have no future. Me and my brothers were subject to police stops the suspicion laws … this duality gave me a sense of being both an insider and outsider."

Contrary to the popular image of industry figures as brash and highly strung, Enninful is calm and exudes calm. His path has involved adversity, including openly discussed battles with mental health and addiction.

He has also faced significant health challenges, having had multiple operations on his eyes, now leaving him with partial sight. "I endured such a time of fear for two years, away from work, anxious I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I prayed, if this ever is over, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to limit myself to just being an editor or a fashion person."

Curating a Cultural Era

This drive to fit into a box has propelled him outside the realm that made his name. He is now putting together a significant 1990s exhibition at Tate Britain, bringing together work by a roster of pivotal artists and photographers from the era. The show, he notes, aims to capture the decade's interdisciplinary energy – and spotlight those who did not receive a spotlight at the time.

"Galleries often failed to promote the most relevant talents because they weren't of the right pedigree," he comments.

This project itself uses a different business model, forgoing traditional advertising in favour of integrated partnerships. "Our approach is, what can we do together? Is it an event, a series? The magazine is a piece within a greater ecosystem."

Looking Forward Without Fear

Now, Enninful is regarded as one of the world's most respected creative power brokers. His story, he states, is a demonstration to the power of defying expectations.

What would the Edward of the 90s make of the man he has become? He chuckles. "He’d be in shock, but he’d be proud. At that time I was anti-establishment. I would not have believed institutions like Tate were a place for someone like me."

He pauses. "Gratitude is key. We lost our home, we left our homeland. I came close to losing my vision. So fear is not a factor. People have doubted me my whole career. But no obstacle is too great once I’ve decided to do something."