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

A chance encounter during a tube journey in 1988 altered the course of a young Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the capital's buzzing 1990s creative scene, progressing from model to stylist and, while still a teenager, becoming the fashion director of the iconic i-D.

"It was the zenith of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I felt we’d be great friends. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I yearn for that spontaneity."

While Enninful may seem wistful, he is in good company. Lately, a fond idealisation of the 1990s has reached fever pitch. However in the intervening decades, Enninful feels a noticeable regression. "I believe, 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 regression is difficult to overlook: the growth of far-right politics, the reaction against progressive values, and the return of traditional beauty standards. Replacing the optimism of the Blair era, today a different political force looms as a possible leader. Furthermore, the British flag, once an badge of cultural optimism, has sparked debate once more.

According to Enninful, the antidote has long been to promote culture in all its variety. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a diverse array of influential figures from art.

"Those in a position of influence should employ it," he says, explaining those editorial decisions. "Everyone talks 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 believed in. I trust this moment will fade."

Hope in the Next Generation

He draws solace in the next generation: "They are far more conscious than we were. They discuss unconscious bias – I had no concept what that was."

The beginnings of his career would forge a trailblazing career marked by boldness and diversity. Enninful made history as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His leadership featured historic front pages showcasing people of diverse backgrounds, curvy models, older individuals, and individuals from all walks of life. Importantly, sales rose.

"To overlook 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 agency EE72 and its flagship publication, 72, his key endeavour since departing his former post. He says he wants to continue being a "change-maker".

"My nature is to challenge the established norms. I was raised in a place where the majority was Black – the doctors, the attorneys, the president. Then we arrived in England, penniless, and I found myself on the margins. I was very shy. My teachers said I’d never amount to anything. Me and my brothers were harassed under the suspicion laws … those experiences gave me a unique perspective both an insider and outsider."

In contrast to the caricature of industry figures as brash and temperamental, Enninful is calm and exudes calm. His journey has involved hardship, including publicly shared struggles with depression and substance use.

He has also faced serious health challenges, having had multiple operations on his eyes, leading to partial sight. "I endured such a dark place for two years, not working, fearing I was going to lose my sight. It’s comparable to 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 confine myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This refusal to be typecast has propelled him away from the world that built his career. He is now organising a significant 1990s exhibition at Tate Britain, bringing together work by a group of defining artists and photographers from the era. The show, he says, aims to evoke the decade's artistic collaboration – and spotlight those who lacked adequate attention at the time.

"Galleries often failed to promote the truly innovative creators because they weren't of the expected background," he states.

This venture itself uses a novel strategy, forgoing traditional advertising in favour of integrated partnerships. "We ask, what can we achieve in partnership? Is it an event, a podcast? The magazine is one component of a greater ecosystem."

Looking Forward Without Fear

Today, Enninful stands as one of the world's most powerful industry leaders. His journey, he states, is a testament to the power of defying expectations.

How would the Edward of the 90s react to the man he has become? He smiles. "It would be a surprise, but he’d be proud. In those days I was sceptical of institutions. 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 doubted me my whole career. But nothing can stop me once I’ve decided to do something."