Edward Enninful reflects on Modern Britain: 'Britain Feels Less Tolerant Now' Compared to the Nineties.
A chance encounter on the London Underground in 1988 changed forever the trajectory of a teenage Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the city's electric 1990s cultural landscape, evolving from model to stylist and, before turning twenty, becoming the style editor of i-D magazine.
"It was the peak of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I knew we’d be close. We all mixed across disciplines. Friday bled into Saturday into Sunday. I miss that spontaneity."
If Enninful sounds wistful, he is in good company. In recent times, a fond idealisation of the 1990s has grown intense. But over the last thirty years, Enninful believes a noticeable regression. "I believe, we’re less tolerant now than we were in the 90s," he says. "It’s not even this country – it’s a global phenomenon."
A Cultural Backslide
This change is increasingly evident: the rise of nationalist groups, the backlash against social awareness, and the return of narrow beauty standards. Replacing the optimism of the previous decade, currently a different political figure stands as a possible leader. Even, the Union Jack, once an symbol of cultural optimism, has returned as a polarising symbol.
In Enninful's view, the response has consistently been to celebrate 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 portrait of modern Britain, showcasing a broad spectrum of prominent faces from music.
"Those in a position of influence should employ it," he comments, discussing those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain was not a welcoming country, if it did not offer my family a refuge and an education. That’s the Britain I believed in. I believe this moment will fade."
The Younger Generation's Awareness
He finds hope in the next generation: "Their awareness is greater than we were. They analyse implicit prejudice – I was not even aware what that was."
Those early experiences would define a trailblazing career marked by fearlessness and diversity. Enninful set a precedent as the first man, first Black editor, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His tenure featured historic front pages showcasing models of colour, curvy models, an octogenarian, and people from varied communities. Importantly, sales rose.
"When you ignore huge sections of the population, it’s not just that you’re not being inclusive – it’s bad for business," he emphasises.
A New Chapter as a 'Disruptor'
He has recently launched 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 "disruptor".
"My nature is to challenge the established norms. I was raised in a place where Black professionals were the norm – the doctors, the attorneys, the leader. Then we came to England, with nothing, and I became the 'other'. I was very shy. My teachers predicted I’d achieve nothing. Me and my brothers were harassed under the Sus laws … this duality gave me a sense of being between worlds."
In contrast to the caricature of industry figures as brash and highly strung, Enninful is softly spoken and exudes calm. His life has not been immune to adversity, including openly discussed struggles with depression and substance use.
He has also faced significant health issues, having had multiple operations on his eyes, resulting in limited vision. "I endured such a dark place for two years, away from work, anxious I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I thought, if this ever is over, I’m just going to embrace every opportunity 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 refusal to be typecast has inspired him outside the world that built his career. He is now organising a major 1990s exhibition at Tate Britain, featuring work by a group of defining artists and photographers from the era. The show, he notes, aims to evoke the decade's artistic collaboration – and give platform to those who lacked a spotlight at the time.
"Galleries often failed to promote the truly innovative creators because they lacked the expected background," he states.
This project itself uses a unique strategy, rejecting traditional advertising in favour of integrated partnerships. "Our approach is, what can we achieve in partnership? Is it an event, a series? The magazine is one component of a larger creative platform."
A Testament to Resilience
Today, Enninful is regarded as one of the world's most influential cultural influencers. His journey, he believes, is a demonstration to the power of following your instincts.
How would the younger Edward react to the man he has become? He smiles. "He would be astonished, but he’d be proud. At that time I was a rebel. I didn't think institutions like Tate were within my reach."
He reflects. "Gratitude is key. We fled, we left our homeland. I almost lost my vision. So fear is not a factor. People have counted me out my whole career. But I am unstoppable once I’ve decided to do something."