Edward Enninful discusses Modern Britain: 'Britain Feels Less Tolerant Now' Than We Were Decades Ago.

A serendipitous meeting on the London Underground in 1988 transformed the path of a young Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was quickly drawn into the London's buzzing 1990s cultural landscape, moving from model to stylist and, while still a teenager, becoming the fashion director of i-D magazine.

"It was the height of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I knew we’d be close. We all mixed across disciplines. Friday became Saturday into Sunday. I yearn for that spontaneity."

If Enninful sounds nostalgic, he is far from alone. In recent times, a fond idealisation of the 1990s has become pervasive. However since that time, Enninful perceives a noticeable regression. "I believe, we’re less accepting now than we were in the 90s," he observes. "This isn't just this country – it’s a global phenomenon."

A Cultural Backslide

This change is difficult to overlook: the rise of nationalist groups, the reaction against so-called "wokeness", and the reassertion of traditional beauty standards. Where once there was the hope of the previous decade, today a more divisive political force appears as a potential leader. Even, the British flag, once an symbol of Cool Britannia, has become contentious again.

According to Enninful, the antidote has long been to celebrate culture in all its diversity. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a diverse array of cultural icons from art.

"Those in a position of influence should use it," he comments, explaining those publishing choices. "Everyone talks about immigration; I would not be in this position if Britain were not a welcoming country, if it hadn't given my family a refuge and an education. That’s the Britain I believed in. I trust this phase will end."

Hope in the Next Generation

He finds hope in the younger generation: "They’re much more aware than we were. They discuss unconscious bias – I was not even aware what that was."

His formative years would define a trailblazing career marked by boldness and inclusivity. Enninful broke barriers as the first man, first Black editor, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His leadership featured historic front pages showcasing models of colour, curvy models, older individuals, and people from all walks of life. Importantly, sales grew.

"Ignoring vast segments of the population, it’s not just that you’re not being inclusive – it’s a poor strategy," he states.

A New Chapter as a 'Disruptor'

He has established 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 "change-maker".

"I’ve always questioned the conventional wisdom. I was raised in a place where the majority was Black – the physicians, the lawyers, the leader. Then we came to England, with nothing, and I became the 'other'. I was incredibly timid. 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 dual identity both an insider and outsider."

Defying the popular image of fashion editors as loud and highly strung, Enninful is measured in tone and radiates serenity. His path has included its share of adversity, including openly discussed struggles with mental health and addiction.

He has also faced significant health challenges, having undergone several surgeries on his eyes, leading to partial sight. "I was in such a dark place for two years, away from work, fearing I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I prayed, if this ever is over, I’m just going to pursue all that I was so fearful to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This drive to be typecast has led him beyond the realm that built his career. He is now organising a significant 1990s exhibition at Tate Britain, bringing together work by a group of defining 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 didn't always shine a light on the right artists because they did not have the expected background," he observes.

The magazine 72 itself functions with a novel strategy, forgoing traditional advertising in favour of creative collaborations. "The question is, what can we do together? Is it an event, a podcast? The magazine is a piece within a larger creative platform."

An Unstoppable Drive

Today, Enninful operates as one of the world's most influential creative power brokers. His story, he believes, is a testament to the power of defying expectations.

How would the younger Edward react to the his current self? He smiles. "He’d be in shock, but he’d be proud. In those days I was sceptical of institutions. I never imagined institutions like Tate were within my reach."

He adds. "Gratitude is key. We lost our home, we fled our country. I came close to losing my vision. So fear isn't an option. People have counted me out my entire life. But nothing can stop me once I’ve set my intention to do something."