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

A chance encounter while riding the tube in 1988 altered the path of a young Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the London's buzzing 1990s artistic milieu, evolving from mannequin to stylist and, before turning twenty, becoming the style editor of the iconic i-D.

"That era was the peak of the Young British Artists – 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 kindred spirits. We all mixed across disciplines. Friday bled into Saturday into Sunday. I long for that energy."

If Enninful sounds nostalgic, he is in good company. In recent times, a longing look back of the 1990s has grown intense. Yet over the last thirty years, Enninful perceives a significant change. "In my view, we’re less tolerant now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s everywhere."

A Cultural Backslide

This regression is hard to ignore: the rise of nationalist groups, the reaction against progressive values, and the reassertion of narrow beauty standards. Replacing the hope of the previous decade, now a more divisive political force stands as a possible leader. Even, the Union Jack, once an emblem of Cool Britannia, has returned as a polarising symbol.

In Enninful's view, the response has always been to champion culture in all its multifaceted forms. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a diverse array of prominent faces from music.

"Individuals with a platform should employ it," he asserts, referring to those publishing choices. "People often debate about immigration; I could not have had this life if Britain were not a lenient country, if it hadn't given my family a refuge and an education. That’s the Britain I believed in. I hope this moment will end."

A New Wave of Consciousness

He finds hope in the youth of today: "They’re much more aware than we were. They discuss unconscious bias – I didn't even know what that was."

His formative years would shape a trailblazing career built on fearlessness and diversity. Enninful set a precedent as the first man, first Black editor, first gay man, and first disabled Black gay man to lead at British Vogue. His time featured landmark covers showcasing people of diverse backgrounds, curvy models, older individuals, and people from varied communities. Significantly, sales increased.

"When you ignore vast segments of the population, it’s not just that you’re not being inclusive – it’s bad for business," he states.

Beyond the Magazine World

He has recently launched his agency EE72 and its accompanying magazine, 72, his premier initiative since departing his former post. He states his aim to continue being a "disruptor".

"I constantly interrogate the established norms. I was brought up in a place where the majority was Black – the physicians, the lawyers, the leader. Then we arrived in England, with nothing, and I became the 'other'. I was incredibly timid. My teachers declared I’d never amount to anything. Me and my brothers were stopped by the police the Sus laws … this duality gave me a sense of being between worlds."

Defying the caricature of industry figures as brash and temperamental, Enninful is calm and radiates serenity. His path has not been immune to adversity, including openly discussed struggles with mental health and addiction.

He has also endured serious health challenges, having had multiple operations on his eyes, resulting in partial sight. "I experienced such a difficult period for two years, away from work, terrified I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever passes, I’m just going to do everything that I was so fearful to do. I’m not going to confine myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This drive to be typecast has inspired him outside the world that made his name. He is now putting together a major 1990s exhibition at Tate Britain, featuring work by a host of influential artists and photographers from the era. The show, he explains, aims to explore the decade's creative cross-pollination – and highlight those who lacked due recognition at the time.

"Institutions sometimes neglected to shine a light on the most relevant talents because they did not have the expected background," he observes.

The magazine 72 itself functions with a unique approach, forgoing traditional advertising in favour of creative collaborations. "Our approach is, what can we create collaboratively? Is it an experience, a podcast? The magazine is a piece within a larger creative platform."

Looking Forward Without Fear

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

What would the Edward of the 90s make of the his current self? He chuckles. "It would be a surprise, but he’d be pleased. At that time I was a rebel. I never imagined institutions like Tate were within my reach."

He reflects. "I never take anything for granted. We fled, we fled our country. I came close to losing my vision. So fear is not a factor. People have counted me out my entire life. But nothing can stop me once I’ve decided to do something."