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

An unexpected discovery on the London Underground in 1988 changed forever the course of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the city's vibrant 1990s cultural landscape, moving from model to stylist and, by the age of 18, becoming the fashion director of i-D magazine.

"That era was the peak of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I felt we’d be close. We all socialised across disciplines. Friday bled into Saturday into Sunday. I long for that spontaneity."

If Enninful sounds nostalgic, he is not the only one. Recently, a fond idealisation of the 1990s has grown intense. However since that time, Enninful perceives a profound shift. "In my view, we’re more divided now than we were in the 90s," he observes. "It’s not even this country – it’s worldwide."

A Cultural Backslide

This change is hard to ignore: the rise of far-right politics, the backlash against so-called "wokeness", and the reinforcement of Eurocentric beauty standards. Replacing the optimism of the Blair era, now a more divisive political figure looms as a possible leader. Even, the British flag, once an symbol of Cool Britannia, has become contentious again.

For Enninful, the solution has long been to celebrate culture in all its variety. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a diverse array of influential figures from politics.

"People with a voice should use it," he asserts, explaining those publishing choices. "There is much discussion about immigration; I would not be in this position if Britain was not a welcoming country, if it did not offer my family a refuge and an education. That’s the Britain I believed in. I believe this moment will fade."

A New Wave of Consciousness

He takes comfort in the youth of today: "Their awareness is greater than we were. They analyse systemic issues – I was not even aware what that was."

His formative years would define a groundbreaking career characterised by boldness and diversity. Enninful set a precedent as the first male, first black man, first openly gay person, and first disabled Black gay man to lead at British Vogue. His time featured diverse covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and individuals from all walks of life. Critically, sales grew.

"When you ignore vast segments of the population, it’s not just that you’re failing to represent – it’s commercially unwise," he states.

Beyond the Magazine World

He has since founded his creative company EE72 and its accompanying magazine, 72, his premier initiative since departing his previous role. He expresses a desire to continue being a "disruptor".

"My nature is to challenge the conventional wisdom. I was brought up in a place where everybody was black – the doctors, the attorneys, the leader. Then we came to England, penniless, and I became the 'other'. I was very shy. 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 unique perspective both an insider and outsider."

In contrast to the popular image of fashion editors as loud and temperamental, Enninful is measured in tone and projects peace. His life has not been immune to hardship, including openly discussed periods of depression and addiction.

He has also faced serious health challenges, having had multiple operations on his eyes, now leaving him with partial sight. "I experienced such a difficult period for two years, not working, fearing I was going to lose my sight. It’s comparable to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever ends, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to restrict myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This drive to be defined narrowly has led him beyond the world that built his career. He is now putting together a significant 1990s exhibition at Tate Britain, showcasing work by a group of defining artists and photographers from the era. The show, he explains, aims to explore the decade's creative cross-pollination – and highlight those who lacked a spotlight at the time.

"Institutions didn't always celebrate the most relevant talents because they did not have the right pedigree," he states.

This venture itself operates on a different business model, forgoing traditional advertising in favour of creative collaborations. "Our approach is, what can we create collaboratively? Is it an event, a podcast? The magazine is a piece within a larger creative platform."

Looking Forward Without Fear

Today, Enninful operates as one of the world's most respected cultural influencers. His path, he states, is a proof to the power of defying expectations.

How would the younger Edward make of the Edward of today? He laughs heartily. "He’d be in shock, but he’d be proud. In those days I was a rebel. I didn't think institutions like Tate were within my reach."

He pauses. "I never take anything for granted. We lost our home, we fled our country. I almost lost my vision. So fear is not a factor. People have doubted me my whole career. But nothing can stop me once I’ve decided to do something."