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

A chance encounter while riding the tube in 1988 transformed the trajectory of a teenage Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the London's buzzing 1990s creative scene, evolving from mannequin to stylist and, while still a teenager, becoming the fashion director of the publication i-D.

"It was the height of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I knew we’d be kindred spirits. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I yearn for that rawness."

While Enninful may seem nostalgic, he is not the only one. Recently, a longing look back of the 1990s has become pervasive. However since that time, Enninful believes a profound shift. "In my view, we’re less tolerant now than we were in the 90s," he remarks. "This isn't just this country – it’s worldwide."

Shifting Attitudes

This change is difficult to overlook: the growth of nationalist groups, the backlash against social awareness, and the reassertion of Eurocentric beauty standards. Replacing the optimism of the Blair era, today a more divisive political force stands as a possible leader. Even, the Union Jack, once an emblem of cultural optimism, has become contentious again.

According to Enninful, the antidote has always been to champion culture in all its variety. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a diverse array of influential figures from politics.

"Those in a position of influence should employ it," he says, referring to those publishing choices. "People often debate about immigration; I would not be in this position if Britain was not a open country, if it refused my family a home and an opportunity. That’s the Britain I always loved. I trust this phase will end."

A New Wave of Consciousness

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

His formative years would shape a trailblazing career marked by boldness and inclusivity. Enninful made history as the first male, first black man, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His time featured landmark covers showcasing Black models, plus-sized women, an octogenarian, and individuals from all walks of life. Importantly, sales grew.

"When you ignore large portions of the population, it’s more than that you’re not being inclusive – it’s a poor strategy," he explains.

Launching a Creative Venture

He has established his agency EE72 and its accompanying magazine, 72, his key endeavour since leaving his former post. He expresses a desire to continue being a "change-maker".

"I’ve always questioned the conventional wisdom. I was raised in a place where Black professionals were the norm – the doctors, the attorneys, the president. Then we came to England, without funds, and I found myself on the margins. I was incredibly timid. My teachers predicted I’d never amount to anything. Me and my brothers were harassed under the Sus laws … this duality gave me a unique perspective between worlds."

Contrary to the caricature of industry figures as brash and temperamental, Enninful is measured in tone and exudes calm. His path has included its share of challenges, including well-documented periods of depression and addiction.

He has also faced significant health issues, having had multiple operations on his eyes, resulting in limited vision. "I was in such a difficult period for two years, not working, terrified I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I thought, if this ever ends, I’m just going to do everything that I was so fearful to do. I’m not going to limit myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This refusal to be typecast has led him beyond the world that made his name. He is now organising a significant 1990s exhibition at Tate Britain, showcasing work by a host of defining artists and photographers from the era. The show, he explains, aims to explore the decade's interdisciplinary energy – and spotlight those who did not receive a spotlight at the time.

"The establishment sometimes neglected to shine a light on the most relevant talents because they weren't of the traditional credentials," he comments.

This venture itself uses a unique approach, rejecting traditional advertising in favour of integrated partnerships. "Our approach is, what can we do together? Is it an experience, a podcast? The magazine is one component of a larger creative platform."

Looking Forward Without Fear

Now, Enninful is regarded as one of the world's most powerful industry leaders. His path, he states, is a demonstration to the power of following your instincts.

How would the younger Edward make of the his current self? He laughs heartily. "He would be astonished, but he’d be proud. Back then I was sceptical of institutions. I didn't think institutions like Tate were necessarily for me."

He reflects. "I never take anything for granted. 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 entire life. But I am unstoppable once I’ve set my intention to do something."