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

An unexpected discovery while riding the tube in 1988 changed forever the course of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the London's buzzing 1990s creative scene, evolving from model to stylist and, before turning twenty, becoming the fashion director of the publication i-D.

"It was the peak of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I knew we’d be kindred spirits. We all mixed across disciplines. Friday bled into Saturday into Sunday. I long for that energy."

Although Enninful appears wistful, he is not the only one. Recently, a wistful romanticisation of the 1990s has grown intense. But over the last thirty years, Enninful feels a significant change. "I feel, we’re less accepting now than we were in the 90s," he observes. "This isn't just this country – it’s a global phenomenon."

Shifting Attitudes

This shift is hard to ignore: the rise of populist movements, the pushback against progressive values, and the reinforcement of narrow beauty standards. Replacing the hope of the Blair era, currently a more divisive political personality looms as a possible leader. Furthermore, the British flag, once an symbol of Cool Britannia, has returned as a polarising symbol.

For Enninful, the response has long been to promote 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 snapshot of modern Britain, featuring a broad spectrum of cultural icons from literature.

"People with a voice should employ it," he comments, discussing those editorial decisions. "There is much discussion about immigration; I would not be in this position if Britain was not a welcoming country, if it hadn't given my family a refuge and an education. That’s the Britain I cherished. I believe this phase will end."

A New Wave of Consciousness

He draws solace in the youth of today: "They are far more conscious than we were. They analyse implicit prejudice – I had no concept what that was."

Those early experiences would forge a trailblazing career characterised by boldness and diversity. Enninful broke barriers as the first male, first Black editor, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His time featured historic front pages showcasing people of diverse backgrounds, curvy models, an octogenarian, and people from all walks of life. Importantly, sales rose.

"When you ignore large portions of the population, it’s more than that you’re failing to represent – it’s bad for business," he states.

Beyond the Magazine World

He has since founded his creative company EE72 and its accompanying magazine, 72, his first major project since departing his former post. He says he wants to continue being a "change-maker".

"I’ve always questioned the conventional wisdom. I was brought up in a place where the majority was Black – the doctors, the lawyers, the leader. Then we arrived in England, without funds, and I became the 'other'. I was incredibly timid. My teachers said I’d never amount to anything. Me and my brothers were stopped by the police the Sus laws … those experiences gave me a sense of being both an insider and outsider."

Contrary to the stereotype of fashion editors as loud and highly strung, Enninful is softly spoken and exudes calm. His path has not been immune to challenges, including publicly shared battles with mental health and substance use.

He has also undergone serious health issues, having undergone several surgeries on his eyes, leading to limited vision. "I endured such a dark place for two years, away from work, terrified I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I vowed, if this ever passes, I’m just going to pursue all that I was so scared to do. I’m not going to limit myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This drive to be defined narrowly has inspired him beyond the realm that established him. He is now putting together a seminal 1990s exhibition at Tate Britain, showcasing work by a host of defining artists and photographers from the era. The show, he says, aims to explore the decade's interdisciplinary energy – and give platform to those who did not receive a spotlight at the time.

"Institutions sometimes neglected to shine a light on the truly innovative creators because they lacked the traditional credentials," he observes.

This venture itself functions with a different business model, rejecting traditional advertising in favour of integrated partnerships. "We ask, what can we do together? Is it an event, a series? The magazine is part of a greater ecosystem."

A Testament to Resilience

Now, Enninful operates as one of the world's most respected creative power brokers. His story, he feels, is a testament to the power of following your instincts.

What would the Enninful of that era think of the Edward of today? He chuckles. "He’d be in shock, but he’d be pleased. Back then I was a rebel. I didn't think institutions like Tate were a place for someone like me."

He adds. "Gratitude is key. We lost our home, we left our homeland. I came close to losing my vision. So fear is not a factor. People have counted me out my whole career. But no obstacle is too great once I’ve made up my mind to do something."