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

An unexpected discovery on the London Underground in 1988 transformed the trajectory of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the city's buzzing 1990s creative scene, progressing from mannequin to stylist and, by the age of 18, becoming the fashion director of the publication i-D.

"That time was the height of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I understood we’d be close. We all socialised across disciplines. Friday became Saturday into Sunday. I miss that rawness."

If Enninful sounds nostalgic, he is far from alone. In recent times, a wistful romanticisation of the 1990s has grown intense. However since that time, Enninful feels a profound shift. "In my view, we’re less accepting now than we were in the 90s," he observes. "The issue extends beyond this country – it’s a global phenomenon."

A Perceived Regression

This shift is increasingly evident: the rise of populist movements, the backlash against so-called "wokeness", and the return of Eurocentric beauty standards. Replacing the optimism of the Blair era, now a different political force stands as a potential leader. Furthermore, the British flag, once an badge of national pride, has sparked debate once more.

According to Enninful, the solution has always 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 snapshot of modern Britain, featuring a broad spectrum of prominent faces from literature.

"Individuals with a platform should employ it," he asserts, discussing those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain was not a lenient country, if it hadn't given my family a refuge and an education. That’s the Britain I cherished. I hope this moment will end."

Hope in the Next Generation

He finds hope in the next generation: "They’re much more aware than we were. They discuss systemic issues – I didn't even know what that was."

Those early experiences would define a pioneering career marked by fearlessness and representation. Enninful made history as the first male, first black man, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His leadership featured diverse covers showcasing Black models, plus-sized women, older individuals, and people from varied communities. Importantly, sales rose.

"Ignoring vast segments of the population, it’s not just that you’re failing to represent – it’s commercially unwise," he emphasises.

Launching a Creative Venture

He has since founded his agency EE72 and its flagship publication, 72, his first major project since moving on from his former post. He says he wants to continue being a "disruptor".

"I’ve always questioned the established norms. I was born and raised in a place where everybody was black – the physicians, the lawyers, the leader. Then we came to England, penniless, and I found myself on the margins. I was painfully reserved. My teachers declared I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … those experiences gave me a sense of being on the inside and the outside."

Contrary to the caricature of fashion editors as brash and temperamental, Enninful is calm and radiates serenity. His life has not been immune to hardship, including publicly shared battles with mental health and addiction.

He has also faced significant health challenges, having had multiple operations on his eyes, now leaving him with partial sight. "I endured such a dark place for two years, not working, anxious I was going to go blind. It’s comparable to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever ends, I’m just going to do everything that I was so scared to do. I’m not going to confine myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This determination to be typecast has inspired him beyond the industry that built his career. He is now curating a major 1990s exhibition at Tate Britain, featuring work by a group of influential artists and photographers from the era. The show, he notes, aims to evoke the decade's creative cross-pollination – and highlight those who lacked a spotlight at the time.

"Institutions often failed to promote the truly innovative creators because they weren't of the expected background," he observes.

The magazine 72 itself operates on a different strategy, forgoing traditional advertising in favour of partnership-based projects. "We ask, what can we create collaboratively? Is it an event, a series? The magazine is part of a broader vision."

A Testament to Resilience

Currently, Enninful stands as one of the world's most influential cultural influencers. His story, he states, is a testament to the power of following your instincts.

How would the younger Edward react to the his current self? He chuckles. "It would be a surprise, but he’d be pleased. At that time I was sceptical of institutions. I never imagined institutions like Tate were within my reach."

He pauses. "Nothing is assumed. We fled, we left our homeland. I nearly lost 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."