Edward Enninful reflects on Modern Britain: 'Britain Feels Less Tolerant Now' Compared to the Nineties.
A serendipitous meeting during a tube journey in 1988 changed forever the trajectory of a teenage Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the capital's vibrant 1990s cultural landscape, moving from mannequin to stylist and, while still a teenager, becoming the style editor of i-D magazine.
"It was the zenith of the YBA movement – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I knew we’d be kindred spirits. We all mixed across disciplines. Friday became Saturday into Sunday. I miss that energy."
Although Enninful appears wistful, he is in good company. Recently, a fond idealisation of the 1990s has become pervasive. But in the intervening decades, Enninful feels a profound shift. "I feel, we’re less tolerant now than we were in the 90s," he observes. "The issue extends beyond this country – it’s a global phenomenon."
Shifting Attitudes
This regression is increasingly evident: the resurgence of far-right politics, the backlash against social awareness, and the reinforcement of narrow beauty standards. Replacing the hope of the late 90s, today a more divisive political figure stands as a possible leader. Even, the Union Jack, once an symbol of national pride, has become contentious again.
According to Enninful, the solution has long been to champion culture in all its multifaceted forms. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a diverse array of cultural icons from music.
"Individuals with a platform should use it," he says, discussing those publishing choices. "People often debate about immigration; I could not have had this life if Britain hadn't been a lenient country, if it hadn't given my family a refuge and an education. That’s the Britain I cherished. I trust this period will fade."
A New Wave of Consciousness
He takes comfort in the younger generation: "They’re much more aware than we were. They analyse unconscious bias – I had no concept what that was."
Those early experiences would forge a pioneering career characterised by boldness and inclusivity. Enninful made history as the first male, first Black editor, first gay man, and first disabled Black gay man to lead at British Vogue. His tenure featured historic front pages showcasing people of diverse backgrounds, curvy models, older individuals, and people from all walks of life. Importantly, sales grew.
"To overlook vast segments of the population, it’s more than that you’re failing to represent – it’s a poor strategy," he explains.
A New Chapter as a 'Disruptor'
He has established his creative company EE72 and its flagship publication, 72, his first major project since leaving his former post. He expresses a desire to continue being a "innovator".
"My nature is to challenge the status quo. I was brought up in a place where Black professionals were the norm – the doctors, the lawyers, the leader. Then we came to England, without funds, and I found myself on the margins. I was incredibly timid. My teachers said I’d have no future. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a dual identity both an insider and outsider."
Contrary to the caricature of fashion editors as brash and highly strung, Enninful is calm and projects peace. His path has involved adversity, including publicly shared struggles with depression and substance use.
He has also undergone significant health issues, having had multiple operations on his eyes, leading to partial sight. "I endured such a dark place for two years, away from work, fearing I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I thought, if this ever passes, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to confine myself to just being an editor or a fashion person."
Curating a Cultural Era
This refusal to be typecast has inspired him away from the realm that made his name. 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 explains, aims to evoke the decade's artistic collaboration – and spotlight those who lacked a spotlight at the time.
"Institutions often failed to celebrate the truly innovative creators because they did not have the expected background," he states.
This project itself functions with a novel business model, eschewing traditional advertising in favour of partnership-based projects. "The question is, what can we do together? Is it an experience, a series? The magazine is part of a broader vision."
An Unstoppable Drive
Currently, Enninful operates as one of the world's most powerful creative power brokers. His path, he believes, is a proof to the power of pursuing your passions.
What would the younger Edward react to the Edward of today? He laughs heartily. "He’d be in shock, but he’d be impressed. At that time I was a rebel. I would not have believed institutions like Tate were within my reach."
He reflects. "Nothing is assumed. We fled, we left our homeland. I almost lost my vision. So fear is not a factor. People have underestimated me my whole career. But no obstacle is too great once I’ve made up my mind to do something."