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

An unexpected discovery during a tube journey in 1988 changed forever the path of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the London's buzzing 1990s cultural landscape, moving from model to stylist and, while still a teenager, becoming the fashion director of i-D magazine.

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

While Enninful may seem wistful, he is far from alone. In recent times, a fond idealisation of the 1990s has become pervasive. However since that time, Enninful feels a profound shift. "I feel, we’re less tolerant now than we were in the 90s," he remarks. "It’s not even this country – it’s everywhere."

A Perceived Regression

This shift is difficult to overlook: the rise of populist movements, the pushback against so-called "wokeness", and the reinforcement of Eurocentric beauty standards. In place of the optimism of the late 90s, today a more divisive political force stands as a potential leader. Even, the British flag, once an symbol of cultural optimism, has sparked debate once more.

According to Enninful, the response has long been to champion culture in all its diversity. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a diverse array of cultural icons from literature.

"People with a voice should use it," he says, discussing those publishing choices. "Everyone talks about immigration; I could not have had this life if Britain was not a open country, if it did not offer my family a home and an opportunity. That’s the Britain I believed in. I trust this moment will end."

The Younger Generation's Awareness

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

The beginnings of his career would define a trailblazing career built on fearlessness and diversity. Enninful set a precedent as the first male, first black man, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His time featured diverse covers showcasing Black models, curvy models, an octogenarian, and people from all walks of life. Critically, sales rose.

"Ignoring vast segments of the population, it’s not just that you’re excluding people – it’s bad for business," he emphasises.

Launching a Creative Venture

He has recently launched his creative company EE72 and its accompanying magazine, 72, his first major project since departing his former post. He expresses a desire to continue being a "change-maker".

"My nature is to challenge the conventional wisdom. I was brought up in a place where Black professionals were the norm – the physicians, the attorneys, the president. Then we arrived in England, without funds, and I became the 'other'. I was incredibly timid. My teachers predicted I’d never amount to anything. Me and my brothers were subject to police stops the Sus laws … those experiences gave me a dual identity on the inside and the outside."

Defying the caricature of industry figures as brash and highly strung, Enninful is softly spoken and projects peace. His path has involved challenges, including openly discussed battles with mental health and substance use.

He has also undergone serious health challenges, having undergone several surgeries on his eyes, leading to partial sight. "I endured such a difficult period for two years, away from work, anxious 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 pursue all that I was so afraid to do. I’m not going to confine myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This drive to fit into a box has propelled him away from the industry that built his career. He is now organising a seminal 1990s exhibition at Tate Britain, featuring work by a host of pivotal artists and photographers from the era. The show, he says, aims to explore the decade's artistic collaboration – and give platform to those who weren't given a spotlight at the time.

"The establishment sometimes neglected to promote the truly innovative creators because they did not have the expected background," he observes.

This project itself functions with a unique business model, eschewing traditional advertising in favour of partnership-based projects. "Our approach is, what can we create collaboratively? Is it an experience, a series? The magazine is one component of a greater ecosystem."

A Testament to Resilience

Currently, Enninful operates as one of the world's most influential cultural influencers. His story, he states, is a demonstration to the power of defying expectations.

What would the Enninful of that era make of the man he has become? He laughs heartily. "He’d be in shock, but he’d be proud. At that time I was anti-establishment. I never imagined institutions like Tate were necessarily for me."

He reflects. "I never take anything for granted. We fled, we left our homeland. I almost lost my vision. So fear isn't an option. People have underestimated me my entire life. But no obstacle is too great once I’ve set my intention to do something."