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Edward Enninful reflects on Modern Britain: 'A Decline in Tolerance' Compared to the Nineties.
A serendipitous meeting while riding the tube in 1988 altered the course of a teenage Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the city's vibrant 1990s cultural landscape, moving from model to stylist and, by the age of 18, becoming the fashion director of i-D magazine.
"That time was the zenith of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I understood we’d be great friends. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I miss that energy."
While Enninful may seem wistful, he is not the only one. In recent times, a longing look back of the 1990s has reached fever pitch. However over the last thirty years, Enninful believes a profound shift. "In my view, we’re less tolerant now than we were in the 90s," he says. "This isn't just this country – it’s worldwide."
A Perceived Regression
This regression is increasingly evident: the resurgence of far-right politics, the pushback against social awareness, and the reinforcement of traditional beauty standards. Replacing the optimism of the Blair era, currently a different political figure stands as a possible leader. Even, the Union Jack, once an emblem of Cool Britannia, has returned as a polarising symbol.
In Enninful's view, the solution has always 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 celebration of modern Britain, showcasing a wide range of influential figures from literature.
"People with a voice should use it," he asserts, discussing those publishing choices. "Everyone talks about immigration; I could not have had this life if Britain were not a welcoming country, if it did not offer my family a home and an opportunity. That’s the Britain I cherished. I hope this phase will end."
Hope in the Next Generation
He takes comfort in the next generation: "They’re much more aware than we were. They talk about systemic issues – I didn't even know what that was."
Those early experiences would define a groundbreaking career characterised by boldness and representation. Enninful made history as the first male, first Black editor, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His time featured diverse covers showcasing people of diverse backgrounds, curvy models, an octogenarian, and individuals from varied communities. Importantly, sales increased.
"Ignoring vast segments of the population, it’s not just that you’re failing to represent – it’s bad for business," he emphasises.
Launching a Creative Venture
He has recently launched his agency EE72 and its flagship publication, 72, his first major project since moving on from his previous role. He expresses a desire to continue being a "disruptor".
"I constantly interrogate the established norms. I was born and raised in a place where Black professionals were the norm – the physicians, the lawyers, the leader. Then we arrived in England, without funds, and I became the 'other'. I was painfully reserved. My teachers predicted I’d achieve nothing. Me and my brothers were subject to police stops the Sus laws … those experiences gave me a sense of being both an insider and outsider."
In contrast to the stereotype of industry figures as brash and highly strung, Enninful is measured in tone and exudes calm. His life has not been immune to adversity, including openly discussed battles with depression and substance use.
He has also endured significant health challenges, having had multiple operations on his eyes, leading to limited vision. "I was in such a dark place for two years, away from work, fearing I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I vowed, if this ever ends, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to limit myself to just being an editor or a figure in fashion."
A Foray into Curation
This refusal to be typecast has led him away from the realm that made his name. He is now curating a major 1990s exhibition at Tate Britain, bringing together work by a roster of influential artists and photographers from the era. The show, he says, aims to evoke the decade's interdisciplinary energy – and give platform to those who lacked a spotlight at the time.
"The establishment often failed to celebrate the truly innovative creators because they did not have the expected background," he observes.
This project itself operates on a different business model, rejecting traditional advertising in favour of partnership-based projects. "We ask, what can we do together? Is it an experience, a series? The magazine is one component of a broader vision."
An Unstoppable Drive
Currently, Enninful stands as one of the world's most powerful creative power brokers. His journey, he states, is a proof to the power of defying expectations.
How would the younger Edward make of the Edward of today? He smiles. "He’d be in shock, but he’d be pleased. Back then I was a rebel. I didn't think institutions like Tate were a place for someone like me."
He reflects. "Nothing is assumed. We were displaced, we left our homeland. I almost lost my vision. So there is no room for fear. People have doubted me my entire life. But no obstacle is too great once I’ve made up my mind to do something."
James Shepherd
A seasoned business strategist with over a decade of experience in digital marketing and corporate growth initiatives.
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