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

A serendipitous meeting during a tube journey in 1988 changed forever the trajectory of a young Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the capital's buzzing 1990s creative scene, evolving from model to stylist and, before turning twenty, becoming the style editor of the publication i-D.

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

While Enninful may seem nostalgic, he is in good company. In recent times, a longing look back of the 1990s has reached fever pitch. But over the last thirty years, Enninful feels a profound shift. "I believe, we’re less accepting now than we were in the 90s," he observes. "It’s not even this country – it’s everywhere."

Shifting Attitudes

This change is difficult to overlook: the rise of populist movements, the pushback against so-called "wokeness", and the reinforcement of narrow beauty standards. Replacing the optimism of the previous decade, today a more divisive political figure appears as a possible leader. Furthermore, the Union Jack, once an symbol of national pride, has returned as a polarising symbol.

In Enninful's view, the solution has long been to promote culture in all its variety. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a broad spectrum of influential figures from politics.

"People with a voice should use it," he asserts, referring to those publishing choices. "Everyone talks about immigration; I would not be in this position if Britain were not a welcoming country, if it hadn't given my family a home and an opportunity. 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 analyse implicit prejudice – I had no concept what that was."

Those early experiences would forge a trailblazing career built on boldness and representation. Enninful made history as the first male, first Black editor, first gay man, and first disabled gay man of colour to lead at British Vogue. His time featured landmark covers showcasing Black models, curvy models, older individuals, and people from varied communities. Significantly, sales increased.

"To overlook large portions of the population, it’s more than that you’re not being inclusive – it’s commercially unwise," he states.

Beyond the Magazine World

He has since founded his creative company EE72 and its accompanying magazine, 72, his first major project since moving on from his previous role. He expresses a desire to continue being a "disruptor".

"I constantly interrogate the established norms. I was raised in a place where everybody was black – the doctors, the lawyers, the leader. Then we arrived in England, with nothing, and I found myself on the margins. I was painfully reserved. My teachers predicted I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … those experiences gave me a dual identity on the inside and the outside."

In contrast to the stereotype of industry figures as brash and highly strung, Enninful is calm and radiates serenity. His journey has not been immune to challenges, including openly discussed struggles with depression and addiction.

He has also faced significant health challenges, having had multiple operations on his eyes, leading to impaired eyesight. "I experienced such a difficult period for two years, not working, terrified I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I prayed, 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 drive to be typecast has inspired him away from the industry that built his career. He is now putting together a significant 1990s exhibition at Tate Britain, showcasing work by a group of defining artists and photographers from the era. The show, he notes, aims to capture the decade's artistic collaboration – and give platform to those who lacked a spotlight at the time.

"Institutions often failed to shine a light on the most relevant talents because they did not have the right pedigree," he states.

This project itself uses a novel approach, rejecting traditional advertising in favour of integrated partnerships. "The question is, what can we create collaboratively? Is it an event, a podcast? The magazine is a piece within a broader vision."

An Unstoppable Drive

Currently, Enninful stands as one of the world's most influential cultural influencers. His story, he feels, is a proof to the power of defying expectations.

What would the younger Edward make of the his current self? He smiles. "He’d be in shock, but he’d be impressed. In those days I was sceptical of institutions. I didn't think institutions like Tate were necessarily for me."

He pauses. "Gratitude is key. We were displaced, we fled our country. I came close to losing my vision. So fear isn't an option. People have underestimated me my entire life. But no obstacle is too great once I’ve set my intention to do something."