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

A serendipitous meeting while riding the tube in 1988 altered the course of a young Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the capital's vibrant 1990s artistic milieu, evolving from mannequin to stylist and, before turning twenty, becoming the fashion director of i-D magazine.

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

If Enninful sounds sentimental, he is far from alone. Recently, a longing look back of the 1990s has become pervasive. However in the intervening decades, Enninful perceives a significant change. "In my view, we’re less tolerant now than we were in the 90s," he says. "This isn't just this country – it’s a global phenomenon."

A Cultural Backslide

This regression is increasingly evident: the rise of far-right politics, the backlash against so-called "wokeness", and the reinforcement of Eurocentric beauty standards. In place of the optimism of the previous decade, today a more divisive political figure looms as a potential leader. Furthermore, the Union Jack, once an emblem of cultural optimism, has sparked debate once more.

In Enninful's view, the antidote has long been to promote culture in all its multifaceted forms. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a diverse array of influential figures from art.

"Individuals with a platform should use it," he comments, referring to those publishing choices. "Everyone talks about immigration; I would not be in this position if Britain was not a lenient country, if it refused my family a home and an education. That’s the Britain I always loved. I trust this phase will fade."

The Younger Generation's Awareness

He draws solace in the younger generation: "Their awareness is greater than we were. They analyse implicit prejudice – I was not even aware what that was."

His formative years would forge a pioneering career marked by fearlessness and representation. Enninful broke barriers as the first man, first Black editor, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His leadership featured diverse covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and individuals from all walks of life. Significantly, sales grew.

"To overlook vast segments of the population, it’s not just that you’re excluding people – it’s commercially unwise," he states.

A New Chapter as a 'Disruptor'

He has recently launched his agency EE72 and its flagship publication, 72, his premier initiative since moving on from his former post. He states his aim to continue being a "innovator".

"My nature is to challenge the established norms. I was born and raised in a place where the majority was Black – the physicians, the lawyers, the president. Then we arrived in England, with nothing, and I found myself on the margins. I was painfully reserved. My teachers said I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … this duality gave me a sense of being between worlds."

Contrary to the popular image of fashion editors as brash and temperamental, Enninful is softly spoken and exudes calm. His path has involved challenges, including well-documented battles with mental health and substance use.

He has also faced significant health issues, having had multiple operations on his eyes, resulting in partial sight. "I was in such a dark place for two years, away from work, terrified I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I prayed, if this ever is over, I’m just going to pursue all that I was so scared to do. I’m not going to confine myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This refusal to be defined narrowly has propelled him beyond the realm that established him. He is now putting together a major 1990s exhibition at Tate Britain, featuring work by a host of influential artists and photographers from the era. The show, he explains, aims to explore the decade's creative cross-pollination – and spotlight those who did not receive a spotlight at the time.

"Galleries often failed to promote the truly innovative creators because they lacked the traditional credentials," he states.

This venture itself uses a unique business model, rejecting traditional advertising in favour of partnership-based projects. "The question is, what can we achieve in partnership? Is it an experience, a podcast? The magazine is one component of a broader vision."

A Testament to Resilience

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

What would the Edward of the 90s react to the his current self? He smiles. "It would be a surprise, but he’d be impressed. At that time I was anti-establishment. I didn't think institutions like Tate were necessarily for me."

He reflects. "Nothing is assumed. We lost our home, we left our homeland. I came close to losing my vision. So fear isn't an option. People have underestimated me my entire life. But no obstacle is too great once I’ve decided to do something."