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

An unexpected discovery during a tube journey in 1988 transformed the trajectory of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was quickly drawn into the city's electric 1990s creative scene, evolving from model to stylist and, before turning twenty, becoming the fashion director of the iconic i-D.

"That time was the peak of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I understood we’d be kindred spirits. We all hung out across disciplines. Friday bled into Saturday into Sunday. I miss that energy."

While Enninful may seem wistful, he is not the only one. Recently, a longing look back of the 1990s has become pervasive. But over the last thirty years, Enninful perceives a significant change. "I feel, we’re less accepting now than we were in the 90s," he observes. "It’s not even this country – it’s worldwide."

A Perceived Regression

This change is difficult to overlook: the resurgence of nationalist groups, the backlash against so-called "wokeness", and the reassertion of narrow beauty standards. Where once there was the hope of the late 90s, now a more divisive political personality stands as a potential leader. Even, the Union Jack, once an badge of cultural optimism, has become contentious again.

In Enninful's view, the antidote has always been to celebrate culture in all its variety. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a diverse array of prominent faces from politics.

"Those in a position of influence should use it," he comments, discussing those editorial decisions. "There is much discussion about immigration; I wouldn't be here if Britain hadn't been a open country, if it hadn't given my family a home and an education. That’s the Britain I always loved. I hope this period will end."

The Younger Generation's Awareness

He finds hope in the younger generation: "They are far more conscious than we were. They talk about unconscious bias – I didn't even know what that was."

His formative years would shape a groundbreaking career marked by boldness and diversity. Enninful broke barriers as the first male, first Black editor, first openly gay person, and first disabled Black gay man to lead at British Vogue. His leadership featured diverse covers showcasing Black models, plus-sized women, an octogenarian, and individuals from varied communities. Importantly, sales rose.

"To overlook huge sections of the population, it’s more than that you’re not being inclusive – it’s bad for business," he states.

A New Chapter as a 'Disruptor'

He has recently launched his new venture EE72 and its accompanying magazine, 72, his key endeavour since departing his former post. He expresses a desire to continue being a "innovator".

"I’ve always questioned the established norms. I was brought up in a place where Black professionals were the norm – the physicians, the lawyers, the leader. Then we came to England, without funds, and I found myself on the margins. I was incredibly timid. My teachers said I’d achieve nothing. Me and my brothers were subject to police stops the Sus laws … this duality gave me a unique perspective between worlds."

Contrary to the popular image of industry figures as loud and temperamental, Enninful is softly spoken and radiates serenity. His journey has not been immune to hardship, including publicly shared struggles with depression and addiction.

He has also faced serious health issues, having had multiple operations on his eyes, now leaving him with limited vision. "I was in such a difficult period for two years, away from work, anxious I was going to lose my sight. 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 fearful to do. I’m not going to restrict myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This determination to fit into a box has led him beyond the industry that made his name. He is now putting together a major 1990s exhibition at Tate Britain, showcasing work by a host of influential artists and photographers from the era. The show, he says, aims to explore the decade's interdisciplinary energy – and highlight those who weren't given due recognition at the time.

"Institutions often failed to celebrate the most relevant talents because they lacked the right pedigree," he states.

This project itself operates on a different strategy, rejecting traditional advertising in favour of partnership-based projects. "Our approach is, what can we do together? Is it an experience, a podcast? The magazine is part of a greater ecosystem."

A Testament to Resilience

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

How would the Edward of the 90s react to the man he has become? He laughs heartily. "He would be astonished, but he’d be impressed. At that time I was anti-establishment. I would not have believed institutions like Tate were necessarily for me."

He adds. "Nothing is assumed. We fled, we fled our country. I nearly lost my vision. So there is no room for fear. People have counted me out my entire life. But I am unstoppable once I’ve made up my mind to do something."