Edward Enninful on Modern Britain: 'We Are Less Tolerant Now' Than in the 90s.

A serendipitous meeting while riding the tube in 1988 changed forever the path of a young Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the city's electric 1990s cultural landscape, progressing from model to stylist and, while still a teenager, becoming the style editor of i-D magazine.

"It was the peak of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I felt we’d be great friends. We all socialised across disciplines. Friday became Saturday into Sunday. I miss that energy."

While Enninful may seem nostalgic, he is not the only one. Recently, a longing look back of the 1990s has grown intense. However over the last thirty years, Enninful feels a profound shift. "I believe, we’re less accepting now than we were in the 90s," he observes. "This isn't just this country – it’s worldwide."

A Cultural Backslide

This regression is increasingly evident: the growth of nationalist groups, the backlash against social awareness, and the reassertion of Eurocentric beauty standards. Where once there was the hope of the previous decade, now a more divisive political force appears as a possible leader. Even, the Union Jack, once an badge of Cool Britannia, has returned as a polarising symbol.

According to Enninful, the solution has long been to celebrate culture in all its variety. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a wide range of influential figures from art.

"People with a voice should employ it," he asserts, discussing those editorial decisions. "Everyone talks about immigration; I would not be in this position if Britain hadn't been a lenient country, if it did not offer my family a refuge and an education. That’s the Britain I cherished. I believe this phase will fade."

A New Wave of Consciousness

He finds hope in the younger generation: "They are far more conscious than we were. They talk about systemic issues – I was not even aware what that was."

Those early experiences would shape a trailblazing career marked by boldness and inclusivity. Enninful made history 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 leadership featured landmark covers showcasing Black models, curvy models, older individuals, and people from varied communities. Importantly, sales rose.

"To overlook vast segments of the population, it’s more than that you’re failing to represent – it’s bad for business," he explains.

Launching a Creative Venture

He has since founded his new venture EE72 and its accompanying magazine, 72, his premier initiative since departing his former post. He says he wants to continue being a "disruptor".

"My nature is to challenge the conventional wisdom. I was born and raised in a place where Black professionals were the norm – the doctors, the lawyers, the leader. Then we came to England, penniless, and I became the 'other'. I was painfully reserved. My teachers predicted I’d have no future. Me and my brothers were subject to police stops the Sus laws … all that gave me a sense of being on the inside and the outside."

In contrast to the caricature of fashion editors as loud and highly strung, Enninful is calm and radiates serenity. His path has not been immune to adversity, including openly discussed periods of mental health and addiction.

He has also endured significant health challenges, having had multiple operations on his eyes, resulting in partial sight. "I endured such a difficult period for two years, away from work, fearing I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I thought, if this ever is over, I’m just going to pursue all that I was so afraid to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

A Foray into Curation

This refusal to fit into a box has led him outside the world that built his career. He is now putting together 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 capture the decade's creative cross-pollination – and give platform to those who did not receive a spotlight at the time.

"The establishment didn't always shine a light on the truly innovative creators because they weren't of the traditional credentials," he comments.

This project itself operates on a unique strategy, rejecting traditional advertising in favour of creative collaborations. "Our approach is, what can we do together? Is it an event, a podcast? The magazine is one component of a broader vision."

An Unstoppable Drive

Today, Enninful is regarded as one of the world's most powerful cultural influencers. His path, he states, is a demonstration to the power of following your instincts.

What would the younger Edward think of the Edward of today? He smiles. "He would be astonished, but he’d be proud. Back then I was a rebel. I would not have believed institutions like Tate were necessarily for me."

He pauses. "Gratitude is key. We lost our home, we left our homeland. I came close to losing my vision. So there is no room for fear. People have counted me out my whole career. But I am unstoppable once I’ve made up my mind to do something."