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

A chance encounter while riding the tube in 1988 changed forever the course of a teenage Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the city's electric 1990s cultural landscape, evolving from model to stylist and, by the age of 18, becoming the fashion director of the iconic i-D.

"That time was the peak of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I felt we’d be close. We all hung out across disciplines. Friday bled into Saturday into Sunday. I yearn for that spontaneity."

While Enninful may seem nostalgic, he is not the only one. Recently, a wistful romanticisation of the 1990s has reached fever pitch. However over the last thirty years, Enninful feels a significant change. "In my view, we’re more divided now than we were in the 90s," he says. "This isn't just this country – it’s worldwide."

A Cultural Backslide

This change is hard to ignore: the resurgence of populist movements, the backlash against so-called "wokeness", and the return of narrow beauty standards. In place of the hope of the late 90s, today a different political figure stands as a potential leader. Even, the British flag, once an symbol of Cool Britannia, has returned as a polarising symbol.

According to Enninful, the solution has long been to celebrate culture in all its diversity. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a broad spectrum of influential figures from music.

"Individuals with a platform should employ it," he comments, explaining those publishing choices. "People often debate about immigration; I would not be in this position if Britain were not a lenient country, if it did not offer my family a refuge and an education. That’s the Britain I cherished. I hope this phase will fade."

Hope in the Next Generation

He takes comfort in the next generation: "They are far more conscious than we were. They discuss unconscious bias – I didn't even know what that was."

Those early experiences would define a groundbreaking career built on boldness and diversity. Enninful made history as the first male, first Black editor, first gay man, and first disabled Black gay man to lead at British Vogue. His leadership featured diverse covers showcasing models of colour, plus-sized women, an octogenarian, and people from varied communities. Critically, sales increased.

"When you ignore huge sections of the population, it’s not just that you’re excluding people – it’s bad for business," he emphasises.

A New Chapter as a 'Disruptor'

He has since founded his agency EE72 and its accompanying magazine, 72, his key endeavour since leaving his previous role. He says he wants to continue being a "change-maker".

"My nature is to challenge the status quo. I was brought up in a place where everybody was black – the physicians, the attorneys, the president. Then we arrived in England, with nothing, and I found myself on the margins. I was painfully reserved. My teachers said 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 between worlds."

Contrary to the stereotype of industry figures as loud and highly strung, Enninful is softly spoken and projects peace. His life has included its share of hardship, including publicly shared struggles with mental health and addiction.

He has also endured significant health issues, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I endured such a time of fear for two years, away from work, 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 is over, I’m just going to do everything that I was so scared to do. I’m not going to limit myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This drive to fit into a box has propelled him outside the industry that made his name. He is now curating a major 1990s exhibition at Tate Britain, showcasing work by a group of defining artists and photographers from the era. The show, he notes, aims to evoke the decade's creative cross-pollination – and spotlight those who did not receive adequate attention at the time.

"Galleries didn't always promote the right artists because they weren't of the right pedigree," he observes.

This project itself operates on a different business model, forgoing traditional advertising in favour of creative collaborations. "We ask, what can we achieve in partnership? Is it an event, a series? The magazine is one component of a larger creative platform."

Looking Forward Without Fear

Currently, Enninful operates as one of the world's most respected creative power brokers. His story, he feels, is a testament to the power of following your instincts.

What would the younger Edward react to the man he has become? He chuckles. "It would be a surprise, but he’d be pleased. Back then I was sceptical of institutions. I didn't think institutions like Tate were a place for someone like me."

He pauses. "I never take anything for granted. We were displaced, we left our homeland. I almost lost my vision. So fear is not a factor. People have doubted me my whole career. But no obstacle is too great once I’ve set my intention to do something."