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

A chance encounter while riding the tube in 1988 altered the path of a teenage Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the city's electric 1990s artistic milieu, moving from model to stylist and, before turning twenty, becoming the style editor of the iconic i-D.

"It was the height of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I understood we’d be great friends. We all mixed across disciplines. Friday became Saturday into Sunday. I miss that energy."

If Enninful sounds wistful, he is far from alone. In recent times, a fond idealisation of the 1990s has become pervasive. However since that time, Enninful feels a profound shift. "In my view, we’re less accepting now than we were in the 90s," he remarks. "This isn't just this country – it’s a global phenomenon."

Shifting Attitudes

This regression is hard to ignore: the resurgence of far-right politics, the backlash against social awareness, and the return of Eurocentric beauty standards. Where once there was the hope of the late 90s, today a more divisive political personality looms as a potential leader. Furthermore, the Union Jack, once an emblem of Cool Britannia, has returned as a polarising symbol.

According to Enninful, the solution has long been to promote culture in all its diversity. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a broad spectrum of influential figures from art.

"Those in a position of influence should wield it," he says, explaining those publishing choices. "People often debate about immigration; I would not be in this position if Britain hadn't been a open country, if it did not offer my family a home and an opportunity. That’s the Britain I cherished. I trust this moment will end."

Hope in the Next Generation

He draws solace in the younger generation: "Their awareness is greater than we were. They analyse unconscious bias – I didn't even know what that was."

His formative years would define a pioneering career characterised by fearlessness and representation. 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 diverse covers showcasing models of colour, plus-sized women, an octogenarian, and individuals from all walks of life. Importantly, sales increased.

"To overlook large portions of the population, it’s more than that you’re excluding people – it’s commercially unwise," he emphasises.

Launching a Creative Venture

He has since founded his creative company EE72 and its flagship publication, 72, his first major project since leaving his previous role. He says he wants to continue being a "innovator".

"My nature is to challenge the established norms. I was brought up in a place where everybody was black – the physicians, the attorneys, the leader. Then we arrived in England, with nothing, and I was a minority. I was painfully reserved. My teachers predicted I’d have no future. Me and my brothers were stopped by the police the Sus laws … this duality gave me a sense of being both an insider and outsider."

Defying the caricature of fashion editors as brash and temperamental, Enninful is measured in tone and radiates serenity. His journey has included its share of adversity, including openly discussed periods of mental health and substance use.

He has also undergone serious health challenges, having had multiple operations on his eyes, resulting in limited vision. "I experienced such a dark place for two years, not working, fearing I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I prayed, if this ever passes, I’m just going to do everything that I was so afraid to do. I’m not going to restrict myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This refusal to be defined narrowly has propelled him beyond the realm that established him. He is now organising a seminal 1990s exhibition at Tate Britain, showcasing work by a roster of defining artists and photographers from the era. The show, he notes, aims to capture the decade's creative cross-pollination – and highlight those who weren't given a spotlight at the time.

"Galleries often failed to promote the most relevant talents because they lacked the traditional credentials," he observes.

This venture itself functions with a unique approach, forgoing traditional advertising in favour of partnership-based projects. "We ask, what can we create collaboratively? Is it an experience, a series? The magazine is one component of a broader vision."

An Unstoppable Drive

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

How would the Edward of the 90s think of the his current self? He laughs heartily. "He would be astonished, but he’d be impressed. Back then I was a rebel. I didn't think institutions like Tate were within my reach."

He reflects. "Gratitude is key. We were displaced, we left our homeland. I nearly lost my vision. So fear is not a factor. People have underestimated me my entire life. But I am unstoppable once I’ve made up my mind to do something."