Edward Enninful on Modern Britain: 'We Are Less Tolerant Now' Compared to the Nineties.

An unexpected discovery during a tube journey in 1988 transformed the trajectory of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the capital's electric 1990s cultural landscape, moving from mannequin to stylist and, while still a teenager, becoming the fashion director of i-D magazine.

"That time was the peak of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I knew we’d be close. We all mixed across disciplines. Friday became Saturday into Sunday. I yearn for that spontaneity."

If Enninful sounds sentimental, he is in good company. Lately, a wistful romanticisation of the 1990s has grown intense. But in the intervening decades, Enninful feels a noticeable regression. "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."

Shifting Attitudes

This shift is difficult to overlook: the resurgence of nationalist groups, the reaction against social awareness, and the return of Eurocentric beauty standards. In place of the optimism of the previous decade, now a more divisive political figure looms as a potential leader. Furthermore, the British flag, once an badge of Cool Britannia, has sparked debate once more.

According to Enninful, the solution has consistently been to promote culture in all its variety. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a diverse array of influential figures from music.

"Those in a position of influence should employ it," he comments, referring to those editorial decisions. "People often debate about immigration; I wouldn't be here if Britain hadn't been 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."

A New Wave of Consciousness

He takes comfort in the youth of today: "They are far more conscious than we were. They discuss systemic issues – I didn't even know what that was."

Those early experiences would shape a trailblazing career characterised by boldness and diversity. Enninful made history as the first man, first black man, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His tenure featured landmark covers showcasing Black models, curvy models, older individuals, and people from varied communities. Significantly, sales increased.

"Ignoring huge sections of the population, it’s more than that you’re not being inclusive – it’s commercially unwise," he emphasises.

Launching a Creative Venture

He has established his creative company EE72 and its flagship publication, 72, his first major project since leaving his former post. He states his aim to continue being a "innovator".

"I’ve always questioned the established norms. I was born and raised in a place where everybody was black – the physicians, the lawyers, the leader. Then we arrived in England, with nothing, 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 Sus laws … all that gave me a sense of being on the inside and the outside."

Contrary to the caricature of fashion editors as loud and temperamental, Enninful is softly spoken and radiates serenity. His journey has not been immune to hardship, including publicly shared struggles with depression and addiction.

He has also undergone significant health challenges, having undergone several surgeries on his eyes, leading to partial sight. "I was in such a time of fear for two years, not working, terrified I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I prayed, if this ever passes, I’m just going to do everything 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 determination to be defined narrowly has propelled him outside the realm that built his career. He is now organising a significant 1990s exhibition at Tate Britain, bringing together work by a roster of influential artists and photographers from the era. The show, he explains, aims to capture the decade's interdisciplinary energy – and give platform to those who lacked due recognition at the time.

"The establishment didn't always celebrate the most relevant talents because they weren't of the right pedigree," he comments.

This venture itself operates on a unique approach, eschewing traditional advertising in favour of creative collaborations. "We ask, what can we achieve in partnership? Is it an experience, a podcast? The magazine is part of a larger creative platform."

A Testament to Resilience

Now, Enninful operates as one of the world's most respected industry leaders. His story, he states, is a testament to the power of pursuing your passions.

What would the Enninful of that era think of the Edward of today? He smiles. "He’d be in shock, but he’d be impressed. In those days I was sceptical of institutions. I would not have believed institutions like Tate were within my reach."

He reflects. "Nothing is assumed. We were displaced, we fled our country. I almost lost my vision. So fear is not a factor. People have counted me out my whole career. But no obstacle is too great once I’ve decided to do something."