Edward Enninful on Modern Britain: 'Britain Feels Less Tolerant Now' Compared to the Nineties.

A serendipitous meeting on the London Underground in 1988 changed forever the path of a teenage Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the city's buzzing 1990s cultural landscape, moving from model to stylist and, before turning twenty, becoming the style editor of i-D magazine.

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

While Enninful may seem sentimental, he is in good company. Recently, a longing look back of the 1990s has reached fever pitch. But over the last thirty years, Enninful perceives a noticeable regression. "I believe, we’re more divided now than we were in the 90s," he remarks. "This isn't just this country – it’s everywhere."

Shifting Attitudes

This change is increasingly evident: the rise of far-right politics, the reaction against social awareness, and the reassertion of traditional beauty standards. Where once there was the hope of the Blair era, now a different political figure appears as a potential leader. Furthermore, the Union Jack, once an badge of Cool Britannia, has returned as a polarising symbol.

For Enninful, the solution has long been to celebrate culture in all its multifaceted forms. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a broad spectrum of prominent faces from art.

"Individuals with a platform should use it," he says, discussing those publishing choices. "There is much discussion about immigration; I would not be in this position if Britain hadn't been a open country, if it hadn't given my family a home and an education. That’s the Britain I cherished. I hope this period will pass."

The Younger Generation's Awareness

He draws solace in the youth of today: "They’re much more aware than we were. They talk about systemic issues – I had no concept what that was."

His formative years would shape a trailblazing career characterised by boldness and inclusivity. Enninful broke barriers as the first male, first black man, first openly gay person, and first disabled Black gay man to lead at British Vogue. His tenure featured diverse covers showcasing models of colour, plus-sized women, older individuals, and individuals from all walks of life. Importantly, sales grew.

"When you ignore huge sections of the population, it’s not just that you’re failing to represent – it’s a poor strategy," he states.

A New Chapter as a 'Disruptor'

He has since founded his agency EE72 and its accompanying magazine, 72, his key endeavour since leaving his previous role. He expresses a desire to continue being a "innovator".

"I constantly interrogate the established norms. I was brought up in a place where everybody was black – the doctors, the lawyers, the president. Then we came to England, without funds, and I was a minority. I was very shy. My teachers predicted I’d have no future. Me and my brothers were stopped by the police the Sus laws … all that gave me a dual identity on the inside and the outside."

Contrary to the popular image of fashion editors as loud and highly strung, Enninful is softly spoken and projects peace. His journey has not been immune to adversity, including well-documented battles with depression and substance use.

He has also endured significant health issues, having had multiple operations on his eyes, now leaving him with impaired eyesight. "I was in such a time of fear for two years, away from work, terrified I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I vowed, if this ever is over, I’m just going to pursue all that I was so afraid to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This drive to fit into a box has inspired him beyond the industry that built his career. He is now putting together a seminal 1990s exhibition at Tate Britain, showcasing work by a roster of defining artists and photographers from the era. The show, he notes, aims to evoke the decade's interdisciplinary energy – and give platform to those who lacked adequate attention at the time.

"Institutions often failed to shine a light on the right artists because they did not have the expected background," he observes.

This project itself functions with a novel approach, eschewing traditional advertising in favour of creative collaborations. "The question is, what can we do together? Is it an event, a podcast? The magazine is a piece within a broader vision."

A Testament to Resilience

Currently, Enninful operates as one of the world's most influential creative power brokers. His path, he feels, is a testament to the power of defying expectations.

How would the Edward of the 90s think of the man he has become? He smiles. "He would be astonished, but he’d be impressed. Back then I was anti-establishment. I never imagined institutions like Tate were a place for someone like me."

He reflects. "Gratitude is key. We fled, we left our homeland. I came close to losing my vision. So fear isn't an option. People have doubted me my entire life. But nothing can stop me once I’ve decided to do something."