Edward Enninful reflects on Modern Britain: 'We Are Less Tolerant Now' Than in the 90s.

An unexpected discovery during a tube journey in 1988 altered the path of a teenage Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the London's buzzing 1990s cultural landscape, progressing from model to stylist and, before turning twenty, becoming the fashion director of the iconic i-D.

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

Although Enninful appears sentimental, he is in good company. In recent times, a wistful romanticisation of the 1990s has grown intense. Yet in the intervening decades, Enninful perceives a noticeable regression. "I believe, we’re less tolerant now than we were in the 90s," he observes. "It’s not even this country – it’s a global phenomenon."

A Perceived Regression

This change is increasingly evident: the growth of far-right politics, the reaction against so-called "wokeness", and the return of narrow beauty standards. Replacing the hope of the Blair era, today a different political force stands as a possible leader. Even, the British flag, once an emblem of Cool Britannia, has become contentious again.

In Enninful's view, the antidote has consistently been to champion culture in all its multifaceted forms. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a diverse array of prominent faces from politics.

"People with a voice should use it," he comments, explaining those editorial decisions. "People often debate about immigration; I would not be in this position if Britain was not a welcoming country, if it refused my family a home and an education. That’s the Britain I cherished. I believe this period will fade."

A New Wave of Consciousness

He takes comfort in the younger generation: "Their awareness is greater than we were. They discuss unconscious bias – I had no concept what that was."

The beginnings of his career would shape a trailblazing career built on fearlessness and inclusivity. Enninful made history as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His leadership featured diverse covers showcasing people of diverse backgrounds, curvy models, an octogenarian, and individuals from varied communities. Importantly, sales increased.

"Ignoring vast segments of the population, it’s more than that you’re failing to represent – it’s a poor strategy," he states.

A New Chapter as a 'Disruptor'

He has established his creative company EE72 and its flagship publication, 72, his premier initiative since leaving his previous role. He expresses a desire to continue being a "innovator".

"I constantly interrogate the conventional wisdom. I was born and raised in a place where Black professionals were the norm – the doctors, the attorneys, the president. Then we came to England, without funds, and I became the 'other'. I was painfully reserved. My teachers predicted I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … this duality gave me a sense of being on the inside and the outside."

Contrary to the stereotype of fashion editors as brash and highly strung, Enninful is measured in tone and exudes calm. His journey has involved hardship, including publicly shared battles with depression and substance use.

He has also faced significant health issues, having undergone several surgeries on his eyes, leading to partial sight. "I was in such a dark place for two years, not working, terrified I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I vowed, if this ever ends, I’m just going to pursue all that I was so fearful to do. I’m not going to limit myself to just being an editor or a fashion person."

A Foray into Curation

This determination to be typecast has inspired him outside the industry that established him. He is now putting together a major 1990s exhibition at Tate Britain, bringing together work by a group of defining artists and photographers from the era. The show, he notes, aims to evoke the decade's interdisciplinary energy – and highlight those who did not receive adequate attention at the time.

"Galleries sometimes neglected to promote the right artists because they lacked the right pedigree," he states.

The magazine 72 itself functions with a different approach, forgoing traditional advertising in favour of creative collaborations. "Our approach is, what can we achieve in partnership? Is it an event, a podcast? The magazine is one component of a larger creative platform."

Looking Forward Without Fear

Today, Enninful stands as one of the world's most influential industry leaders. His story, he feels, is a demonstration to the power of pursuing your passions.

How would the younger Edward react to the man he has become? He smiles. "It would be a surprise, but he’d be impressed. Back then I was anti-establishment. I never imagined institutions like Tate were within my reach."

He pauses. "Gratitude is key. We were displaced, we fled our country. I came close to losing my vision. So fear is not a factor. People have underestimated me my entire life. But nothing can stop me once I’ve made up my mind to do something."