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

A serendipitous meeting while riding the tube in 1988 altered the trajectory of a teenage Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the capital's vibrant 1990s creative scene, moving from model to stylist and, by the age of 18, becoming the fashion director of the publication i-D.

"That era was the height of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I felt we’d be kindred spirits. We all socialised across disciplines. Friday became Saturday into Sunday. I yearn for that spontaneity."

While Enninful may seem nostalgic, he is not the only one. Lately, a longing look back of the 1990s has reached fever pitch. However in the intervening decades, Enninful feels a significant change. "In my view, we’re less tolerant now than we were in the 90s," he observes. "It’s not even this country – it’s worldwide."

A Cultural Backslide

This change is increasingly evident: the resurgence of populist movements, the backlash against progressive values, and the reinforcement of narrow beauty standards. In place of the optimism of the Blair era, currently a more divisive political figure stands as a potential leader. Furthermore, the Union Jack, once an badge of Cool Britannia, has become contentious again.

In Enninful's view, the solution has always 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 portrait of modern Britain, featuring a wide range of cultural icons from art.

"Those in a position of influence should employ it," he comments, discussing those publishing choices. "People often debate about immigration; I wouldn't be here if Britain was not a lenient country, if it hadn't given my family a home and an opportunity. That’s the Britain I always loved. I trust this phase will fade."

Hope in the Next Generation

He takes comfort in the youth of today: "They are far more conscious than we were. They talk about systemic issues – I didn't even know what that was."

His formative years would shape a pioneering career built on fearlessness and inclusivity. Enninful set a precedent 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 tenure featured diverse covers showcasing Black models, curvy models, older individuals, and individuals from varied communities. Significantly, sales grew.

"When you ignore vast segments of the population, it’s not just that you’re not being inclusive – it’s bad for business," he explains.

Beyond the Magazine World

He has established his agency EE72 and its accompanying magazine, 72, his key endeavour since departing his previous role. He says he wants to continue being a "innovator".

"I’ve always questioned the established norms. I was born and raised in a place where Black professionals were the norm – the physicians, the attorneys, the leader. Then we came to England, with nothing, and I found myself on the margins. I was very shy. My teachers declared I’d achieve nothing. Me and my brothers were harassed under the Sus laws … all that gave me a sense of being on the inside and the outside."

In contrast to the caricature of industry figures as loud and highly strung, Enninful is softly spoken and radiates serenity. His life has not been immune to challenges, including openly discussed battles with depression and addiction.

He has also undergone serious health issues, having had multiple operations on his eyes, now leaving him with limited vision. "I was in such a dark place for two years, away from work, terrified I was going to go blind. It’s like PTSD; you just live in fear 24/7. I vowed, if this ever is over, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to limit myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This refusal to fit into a box has propelled him away from the realm that built his career. He is now curating a major 1990s exhibition at Tate Britain, showcasing work by a roster of pivotal artists and photographers from the era. The show, he notes, aims to evoke the decade's interdisciplinary energy – and highlight those who weren't given due recognition at the time.

"The establishment often failed to celebrate the right artists because they weren't of the expected background," he observes.

This project itself operates on a unique business model, eschewing traditional advertising in favour of creative collaborations. "The question is, what can we create collaboratively? Is it an experience, a podcast? The magazine is a piece within a broader vision."

A Testament to Resilience

Currently, Enninful is regarded as one of the world's most powerful industry leaders. His journey, he believes, is a testament to the power of pursuing your passions.

How would the younger Edward think of the man he has become? He smiles. "He’d be in shock, but he’d be pleased. In those days I was sceptical of institutions. I never imagined institutions like Tate were necessarily for me."

He adds. "I never take anything for granted. We lost our home, we fled our country. I nearly lost my vision. So fear isn't an option. People have doubted me my entire life. But I am unstoppable once I’ve made up my mind to do something."