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

An unexpected discovery on the London Underground in 1988 altered the path of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the capital's electric 1990s artistic milieu, moving from mannequin to stylist and, before turning twenty, becoming the style editor of i-D magazine.

"That time was the height of the Young British Artists – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "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 yearn for that rawness."

Although Enninful appears nostalgic, he is far from alone. In recent times, a fond idealisation of the 1990s has become pervasive. But since that time, Enninful perceives a profound shift. "I feel, we’re more divided now than we were in the 90s," he says. "It’s not even this country – it’s worldwide."

A Cultural Backslide

This shift is increasingly evident: the resurgence of nationalist groups, the backlash against social awareness, and the return of narrow beauty standards. Where once there was the optimism of the late 90s, now a different political figure stands as a potential leader. Furthermore, the British flag, once an symbol of national pride, has sparked debate once more.

In Enninful's view, the solution has consistently been to champion culture in all its multifaceted forms. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a diverse array of prominent faces from music.

"People with a voice should wield it," he asserts, explaining those publishing choices. "Everyone talks about immigration; I would not be in this position if Britain were not a lenient country, if it hadn't given my family a home and an education. That’s the Britain I believed in. I trust this phase will fade."

The Younger Generation's Awareness

He takes comfort in the younger generation: "Their awareness is greater than we were. They discuss systemic issues – I was not even aware what that was."

His formative years would shape a pioneering career marked by fearlessness and diversity. Enninful made history as the first man, first Black editor, first gay man, and first disabled Black gay man to take the helm at British Vogue. His leadership featured landmark covers showcasing people of diverse backgrounds, curvy models, an octogenarian, and individuals from varied communities. Significantly, sales increased.

"To overlook huge sections of the population, it’s more than that you’re excluding people – it’s bad for business," he emphasises.

Launching a Creative Venture

He has since founded his agency EE72 and its flagship publication, 72, his key endeavour since departing his previous role. He states his aim to continue being a "disruptor".

"My nature is to challenge the conventional wisdom. I was raised in a place where Black professionals were the norm – the physicians, the attorneys, the leader. Then we arrived in England, penniless, and I found myself on the margins. I was incredibly timid. My teachers predicted I’d never amount to anything. Me and my brothers were stopped by the police the Sus laws … all that gave me a dual identity both an insider and outsider."

In contrast to the stereotype of fashion editors as loud and temperamental, Enninful is measured in tone and radiates serenity. His life has not been immune to adversity, including well-documented periods of mental health and addiction.

He has also faced serious health issues, having undergone several surgeries on his eyes, now leaving him with partial sight. "I endured such a dark place for two years, away from work, terrified I was going to go blind. 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 embrace every opportunity that I was so afraid 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 propelled him beyond the realm that established him. He is now putting together a major 1990s exhibition at Tate Britain, featuring work by a group of defining artists and photographers from the era. The show, he says, aims to capture the decade's interdisciplinary energy – and spotlight those who did not receive a spotlight at the time.

"The establishment didn't always shine a light on the most relevant talents because they did not have the expected background," he comments.

The magazine 72 itself uses a different approach, eschewing traditional advertising in favour of integrated partnerships. "The question is, what can we achieve in partnership? Is it an event, a podcast? The magazine is a piece within a greater ecosystem."

A Testament to Resilience

Today, Enninful stands as one of the world's most influential creative power brokers. His path, he believes, is a testament to the power of pursuing your passions.

How would the Enninful of that era react to the man he has become? He chuckles. "He would be astonished, but he’d be pleased. Back then I was a rebel. I didn't think institutions like Tate were within my reach."

He reflects. "Nothing is assumed. We fled, we left our homeland. I almost lost 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."