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

A serendipitous meeting while riding the tube in 1988 changed forever the course of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the London's electric 1990s creative scene, evolving from model to stylist and, while still a teenager, becoming the fashion director of i-D magazine.

"It was the zenith of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I knew we’d be kindred spirits. We all hung out across disciplines. Friday became Saturday into Sunday. I long for that spontaneity."

If Enninful sounds nostalgic, he is far from alone. Recently, a fond idealisation of the 1990s has grown intense. However over the last thirty years, Enninful perceives a significant change. "In my view, we’re less accepting now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s a global phenomenon."

A Cultural Backslide

This shift is difficult to overlook: the rise of nationalist groups, the reaction against progressive values, and the reassertion of Eurocentric beauty standards. Where once there was the optimism of the Blair era, today a more divisive political figure looms as a possible leader. Furthermore, the Union Jack, once an badge of cultural optimism, has become contentious again.

For Enninful, the antidote has long been to celebrate 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 wide range of prominent faces from music.

"Those in a position of influence should use it," he says, discussing those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain hadn't been a lenient country, if it did not offer my family a home and an opportunity. That’s the Britain I believed in. I trust this period will end."

The Younger Generation's Awareness

He finds hope in the next generation: "Their awareness is greater than we were. They talk about systemic issues – I didn't even know what that was."

Those early experiences would define a pioneering career built on fearlessness and representation. Enninful set a precedent as the first man, first black man, first gay man, and first disabled gay man of colour to lead at British Vogue. His tenure featured landmark covers showcasing Black models, curvy models, older individuals, and individuals from varied communities. Significantly, sales rose.

"When you ignore large portions of the population, it’s not just that you’re not being inclusive – it’s a poor strategy," he explains.

Beyond the Magazine World

He has recently launched his agency EE72 and its flagship publication, 72, his premier initiative since departing his previous role. He says he wants to continue being a "disruptor".

"I constantly interrogate the status quo. I was born and raised in a place where everybody was black – the physicians, the lawyers, the leader. Then we came to England, with nothing, and I was a minority. I was incredibly timid. My teachers predicted I’d never amount to anything. Me and my brothers were harassed under the Sus laws … all that gave me a sense of being both an insider and outsider."

Defying the stereotype of fashion editors as brash and temperamental, Enninful is measured in tone and exudes calm. His journey has included its share of adversity, including publicly shared periods of depression and substance use.

He has also faced significant health challenges, having had multiple operations on his eyes, leading to limited vision. "I experienced such a dark place for two years, not working, fearing I was going to go blind. It’s comparable to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever passes, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to limit myself to just being an editor or a fashion person."

A Foray into Curation

This refusal to fit into a box has led him away from the world that made his name. He is now organising a major 1990s exhibition at Tate Britain, showcasing work by a host of defining artists and photographers from the era. The show, he explains, aims to evoke the decade's interdisciplinary energy – and spotlight those who weren't given due recognition at the time.

"The establishment didn't always promote the right artists because they lacked the right pedigree," he comments.

This project itself operates on a unique approach, forgoing traditional advertising in favour of partnership-based projects. "The question is, what can we do together? 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 powerful cultural influencers. His journey, he believes, is a testament to the power of following your instincts.

How would the Enninful of that era think of the man he has become? He chuckles. "It would be a surprise, but he’d be pleased. Back then I was anti-establishment. I would not have believed institutions like Tate were a place for someone like me."

He pauses. "I never take anything for granted. We were displaced, we left our homeland. I came close to losing my vision. So there is no room for fear. People have doubted me my entire life. But no obstacle is too great once I’ve made up my mind to do something."