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

An unexpected discovery during a tube journey in 1988 transformed the trajectory of a young Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the London's buzzing 1990s cultural landscape, evolving from model to stylist and, while still a teenager, becoming the fashion director of i-D magazine.

"That era was the zenith of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I felt 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 nostalgic, he is in good company. Recently, a fond idealisation of the 1990s has become pervasive. But in the intervening decades, Enninful believes a profound shift. "I believe, we’re less tolerant now than we were in the 90s," he says. "This isn't just this country – it’s worldwide."

Shifting Attitudes

This change is hard to ignore: the rise of far-right politics, the pushback against social awareness, and the return of Eurocentric beauty standards. Where once there was the optimism of the Blair era, today a more divisive political force stands as a potential leader. Even, the Union Jack, once an badge of national pride, has returned as a polarising symbol.

For Enninful, the response has consistently been to celebrate culture in all its diversity. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a diverse array of influential figures from music.

"Individuals with a platform should wield it," he comments, explaining those publishing choices. "People often debate about immigration; I wouldn't be here if Britain was not a open country, if it refused my family a refuge and an education. That’s the Britain I cherished. I hope this period will fade."

The Younger Generation's Awareness

He takes comfort in the next generation: "Their awareness is greater than we were. They discuss implicit prejudice – I didn't even know what that was."

The beginnings of his career would forge a pioneering career built on fearlessness and inclusivity. Enninful set a precedent as the first man, first Black editor, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His tenure featured diverse covers showcasing models of colour, curvy models, an octogenarian, and people from varied communities. Importantly, sales increased.

"Ignoring vast segments of the population, it’s more than that you’re not being inclusive – it’s commercially unwise," he emphasises.

A New Chapter as a 'Disruptor'

He has recently launched his creative company EE72 and its flagship publication, 72, his key endeavour since leaving his former post. He expresses a desire to continue being a "disruptor".

"I’ve always questioned the conventional wisdom. I was born and raised in a place where the majority was Black – the doctors, the attorneys, the leader. Then we arrived in England, without funds, and I became the 'other'. I was incredibly timid. My teachers said I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … this duality gave me a unique perspective both an insider and outsider."

Contrary to the stereotype of industry figures as loud and temperamental, Enninful is calm and projects peace. His journey has included its share of challenges, including publicly shared struggles with mental health and addiction.

He has also undergone significant health challenges, having had multiple operations on his eyes, resulting in impaired eyesight. "I endured such a difficult period for two years, not working, fearing I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I vowed, if this ever passes, I’m just going to do everything that I was so fearful to do. I’m not going to limit myself to just being an editor or a figure in fashion."

A Foray into Curation

This determination to fit into a box has inspired him beyond the industry that established him. He is now organising a seminal 1990s exhibition at Tate Britain, featuring work by a group of defining artists and photographers from the era. The show, he says, aims to explore the decade's interdisciplinary energy – and highlight those who did not receive due recognition at the time.

"The establishment didn't always promote the right artists because they weren't of the traditional credentials," he states.

This project itself uses a novel strategy, forgoing traditional advertising in favour of partnership-based projects. "The question is, what can we create collaboratively? Is it an experience, a podcast? The magazine is part of a greater ecosystem."

A Testament to Resilience

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

How would the Enninful of that era react to the man he has become? He laughs heartily. "It would be a surprise, but he’d be impressed. In those days I was anti-establishment. I never imagined institutions like Tate were within my reach."

He pauses. "Nothing is assumed. We were displaced, we left our homeland. I nearly lost my vision. So fear isn't an option. People have underestimated me my whole career. But no obstacle is too great once I’ve decided to do something."