Edward Enninful discusses Modern Britain: 'We Are Less Tolerant Now' Compared to the Nineties.

A serendipitous meeting on the London Underground in 1988 changed forever the path of a young Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the capital's buzzing 1990s cultural landscape, evolving from mannequin to stylist and, before turning twenty, becoming the style editor of the publication i-D.

"That time was the height of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I felt we’d be close. We all hung out across disciplines. Friday bled into Saturday into Sunday. I yearn for that rawness."

While Enninful may seem nostalgic, he is far from alone. In recent times, a longing look back of the 1990s has grown intense. Yet in the intervening decades, Enninful believes a significant change. "I feel, we’re less accepting now than we were in the 90s," he says. "It’s not even this country – it’s worldwide."

A Perceived Regression

This change is hard to ignore: the growth of far-right politics, the reaction against so-called "wokeness", and the return of narrow beauty standards. Replacing the optimism of the late 90s, now a different political personality looms as a possible leader. Furthermore, the Union Jack, once an emblem of Cool Britannia, has become contentious again.

In Enninful's view, the antidote has long been to celebrate culture in all its diversity. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a broad spectrum of influential figures from politics.

"Individuals with a platform should wield it," he says, discussing those editorial decisions. "There is much discussion about immigration; I would not be in this position if Britain was not a open country, if it refused my family a refuge and an opportunity. That’s the Britain I always loved. I trust this phase will pass."

Hope in the Next Generation

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

Those early experiences would define a groundbreaking career characterised by fearlessness and representation. Enninful made history as the first male, first black man, first gay man, and first disabled Black gay man to lead at British Vogue. His leadership featured diverse covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and people from all walks of life. Critically, sales rose.

"Ignoring large portions of the population, it’s more than that you’re not being inclusive – it’s commercially unwise," he states.

A New Chapter as a 'Disruptor'

He has since founded his agency EE72 and its accompanying magazine, 72, his key endeavour since leaving his previous role. He expresses a desire to continue being a "innovator".

"My nature is to challenge the conventional wisdom. I was brought up in a place where everybody was black – the physicians, the attorneys, the president. Then we arrived in England, penniless, and I was a minority. I was incredibly timid. My teachers declared I’d have no future. Me and my brothers were stopped by the police the suspicion laws … those experiences gave me a dual identity on the inside and the outside."

Contrary to the stereotype of fashion editors as loud and highly strung, Enninful is calm and exudes calm. His journey has included its share of hardship, including openly discussed periods of mental health and substance use.

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 like PTSD; you just live in fear 24/7. I prayed, if this ever passes, I’m just going to pursue all that I was so afraid to do. I’m not going to limit myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This determination to be defined narrowly has propelled him beyond the industry that made his name. He is now organising a seminal 1990s exhibition at Tate Britain, bringing together work by a group of defining artists and photographers from the era. The show, he explains, aims to capture the decade's interdisciplinary energy – and spotlight those who weren't given due recognition at the time.

"The establishment didn't always promote the truly innovative creators because they did not have the right pedigree," he states.

This project itself operates on a novel approach, eschewing traditional advertising in favour of integrated partnerships. "We ask, what can we achieve in partnership? Is it an event, a series? The magazine is a piece within a greater ecosystem."

An Unstoppable Drive

Currently, Enninful stands as one of the world's most powerful creative power brokers. His story, he states, is a testament to the power of pursuing your passions.

What would the younger Edward react to the man he has become? He chuckles. "He’d be in shock, but he’d be impressed. In those days I was a rebel. I never imagined institutions like Tate were a place for someone like me."

He reflects. "Gratitude is key. We were displaced, we fled our country. I almost lost my vision. So fear isn't an option. People have underestimated me my entire life. But nothing can stop me once I’ve made up my mind to do something."