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

A chance encounter on the London Underground in 1988 transformed the path of a teenage Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the capital's vibrant 1990s creative scene, progressing from model to stylist and, while still a teenager, becoming the fashion director of i-D magazine.

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

If Enninful sounds sentimental, he is not the only one. Recently, a wistful romanticisation of the 1990s has reached fever pitch. But in the intervening decades, Enninful perceives a noticeable regression. "I feel, we’re less accepting now than we were in the 90s," he remarks. "It’s not even this country – it’s a global phenomenon."

Shifting Attitudes

This shift is increasingly evident: the rise of nationalist groups, the reaction against progressive values, and the reassertion of narrow beauty standards. Replacing the optimism of the Blair era, currently a more divisive political personality looms as a potential leader. Furthermore, the British flag, once an badge of national pride, has returned as a polarising symbol.

According to Enninful, the antidote has long been to celebrate culture in all its diversity. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a wide range of cultural icons from music.

"Individuals with a platform should wield it," he asserts, explaining those editorial decisions. "There is much discussion about immigration; I would not be in this position if Britain were not a welcoming country, if it did not offer my family a home and an opportunity. That’s the Britain I always loved. I hope this phase will pass."

A New Wave of Consciousness

He takes comfort in the youth of today: "Their awareness is greater than we were. They analyse systemic issues – I didn't even know what that was."

Those early experiences would shape a pioneering career characterised by boldness and inclusivity. Enninful made history as the first man, first Black editor, first openly gay person, and first disabled Black gay man to lead at British Vogue. His tenure featured landmark covers showcasing Black models, plus-sized women, an octogenarian, and people from varied communities. Critically, sales increased.

"To overlook huge sections of the population, it’s more than that you’re not being inclusive – it’s bad for business," he states.

Launching a Creative Venture

He has recently launched his agency EE72 and its flagship publication, 72, his premier initiative since moving on from his previous role. He states his aim to continue being a "innovator".

"I’ve always questioned the status quo. I was brought up in a place where Black professionals were the norm – the doctors, the attorneys, the president. Then we came to England, penniless, and I became the 'other'. I was very shy. My teachers said I’d have no future. Me and my brothers were subject to police stops the Sus laws … this duality gave me a unique perspective both an insider and outsider."

Contrary to the caricature of fashion editors as brash and highly strung, Enninful is softly spoken and radiates serenity. His journey has included its share of hardship, including well-documented battles with depression and substance use.

He has also undergone serious health challenges, having had multiple operations on his eyes, now leaving him with impaired eyesight. "I endured such a time of fear for two years, not working, terrified I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I vowed, if this ever is over, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to limit myself to just being an editor or a figure in fashion."

A Foray into Curation

This refusal to be typecast has propelled him outside the realm that established him. He is now putting together a significant 1990s exhibition at Tate Britain, featuring work by a group of pivotal artists and photographers from the era. The show, he says, aims to explore the decade's creative cross-pollination – and highlight those who did not receive due recognition at the time.

"Institutions often failed to celebrate the truly innovative creators because they did not have the expected background," he comments.

This project itself operates on a different business model, eschewing traditional advertising in favour of partnership-based projects. "Our approach is, what can we create collaboratively? Is it an event, a series? The magazine is a piece within a greater ecosystem."

Looking Forward Without Fear

Today, Enninful operates as one of the world's most powerful creative power brokers. His story, he feels, is a proof to the power of pursuing your passions.

What would the younger Edward react to the Edward of today? He smiles. "He would be astonished, but he’d be pleased. At that time I was sceptical of institutions. I never imagined institutions like Tate were necessarily for me."

He reflects. "I never take anything for granted. We fled, we fled our country. I came close to losing my vision. So there is no room for fear. People have doubted me my whole career. But nothing can stop me once I’ve made up my mind to do something."