Edward Enninful reflects on Modern Britain: 'We Are Less Tolerant Now' Than We Were Decades Ago.

An unexpected discovery while riding the tube in 1988 transformed the path of a teenage Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was quickly drawn into the London's electric 1990s creative scene, evolving from mannequin to stylist and, by the age of 18, becoming the fashion director of the publication i-D.

"That era 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 felt we’d be kindred spirits. We all mixed across disciplines. Friday became Saturday into Sunday. I miss that spontaneity."

If Enninful sounds sentimental, he is far from alone. Lately, a fond idealisation of the 1990s has reached fever pitch. But since that time, Enninful believes a significant change. "I believe, we’re less tolerant now than we were in the 90s," he says. "This isn't just this country – it’s worldwide."

A Cultural Backslide

This change is hard to ignore: the resurgence of populist movements, the backlash against social awareness, and the reinforcement of traditional beauty standards. In place of the optimism of the previous decade, now a different political figure looms as a possible leader. Even, the Union Jack, once an badge of national pride, has sparked debate once more.

In Enninful's view, the antidote has long been to promote culture in all its multifaceted forms. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a diverse array of influential figures from art.

"People with a voice should use it," he comments, explaining those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain was not a welcoming country, if it hadn't given my family a home and an opportunity. That’s the Britain I believed in. I hope this moment will pass."

The Younger Generation's Awareness

He takes comfort in the next generation: "They are far more conscious than we were. They talk about unconscious bias – I was not even aware what that was."

His formative years would forge a groundbreaking career built on fearlessness and inclusivity. Enninful set a precedent as the first male, first Black editor, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His time featured historic front pages showcasing people of diverse backgrounds, curvy models, an octogenarian, and people from all walks of life. Critically, sales increased.

"Ignoring vast segments 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 established his new venture EE72 and its flagship publication, 72, his premier initiative since moving on from his former post. He says he wants to continue being a "change-maker".

"I constantly interrogate the status quo. I was brought up in a place where the majority was Black – the physicians, the attorneys, the leader. Then we came to England, with nothing, and I became the 'other'. I was very shy. My teachers declared I’d never amount to anything. Me and my brothers were stopped by the police the suspicion laws … those experiences gave me a dual identity between worlds."

Contrary to the popular image of industry figures as loud and temperamental, Enninful is measured in tone and exudes calm. His life has included its share of adversity, including publicly shared battles with depression and substance use.

He has also endured significant health issues, having undergone several surgeries on his eyes, leading to limited vision. "I was in such a time of fear for two years, not working, fearing I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I vowed, if this ever is over, I’m just going to do everything that I was so fearful to do. I’m not going to restrict myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This refusal to be defined narrowly has led him beyond the realm that made his name. He is now organising a significant 1990s exhibition at Tate Britain, bringing together work by a host of pivotal artists and photographers from the era. The show, he says, aims to evoke the decade's artistic collaboration – and highlight those who lacked a spotlight at the time.

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

This project itself uses a novel strategy, forgoing traditional advertising in favour of partnership-based projects. "We ask, what can we achieve in partnership? Is it an experience, a podcast? The magazine is one component of a greater ecosystem."

A Testament to Resilience

Currently, Enninful operates as one of the world's most powerful creative power brokers. His path, he states, is a demonstration to the power of following your instincts.

How would the Enninful of that era react to the his current self? He laughs heartily. "It would be a surprise, but he’d be pleased. At that time I was a rebel. I didn't think institutions like Tate were within my reach."

He reflects. "Nothing is assumed. We fled, we left our homeland. I nearly lost my vision. So fear is not a factor. People have counted me out my whole career. But no obstacle is too great once I’ve made up my mind to do something."