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

An unexpected discovery during a tube journey in 1988 changed forever the trajectory of a young Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was quickly drawn into the capital's buzzing 1990s creative scene, evolving from model to stylist and, before turning twenty, becoming the style editor of the publication i-D.

"That era was the zenith of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I understood we’d be kindred spirits. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I yearn for that rawness."

Although Enninful appears nostalgic, he is not the only one. Lately, a wistful romanticisation of the 1990s has reached fever pitch. However over the last thirty years, Enninful feels 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."

Shifting Attitudes

This shift is increasingly evident: the growth of nationalist groups, the backlash against progressive values, and the reinforcement of traditional beauty standards. In place of the hope of the previous decade, currently a more divisive political personality appears as a potential leader. Even, the British flag, once an badge of cultural optimism, has sparked debate once more.

For Enninful, the antidote has always been to celebrate culture in all its diversity. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a diverse array of cultural icons from art.

"Those in a position of influence should wield it," he comments, explaining those editorial decisions. "There is much discussion about immigration; I could not have had this life if Britain was not a open country, if it did not offer my family a home and an education. That’s the Britain I believed in. I hope this phase will pass."

A New Wave of Consciousness

He takes comfort in the next generation: "They’re much more aware than we were. They talk about implicit prejudice – I didn't even know what that was."

The beginnings of his career would forge a pioneering career built on fearlessness and diversity. Enninful made history as the first male, first black man, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His time featured diverse covers showcasing models of colour, plus-sized women, older individuals, and people from all walks of life. Significantly, sales grew.

"To overlook vast segments of the population, it’s more than that you’re not being inclusive – it’s commercially unwise," he states.

Beyond the Magazine World

He has recently launched his creative company EE72 and its flagship publication, 72, his first major project since moving on from his previous role. He states his aim to continue being a "change-maker".

"I’ve always questioned the established norms. I was born and raised in a place where the majority was Black – the physicians, the lawyers, the leader. Then we came to England, penniless, and I became the 'other'. I was painfully reserved. My teachers declared I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … this duality gave me a sense of being on the inside and the outside."

Contrary to the popular image of industry figures as brash and temperamental, Enninful is softly spoken and exudes calm. His journey has involved hardship, including publicly shared battles with depression and addiction.

He has also undergone significant health issues, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I endured such a difficult period for two years, not working, fearing I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I thought, if this ever passes, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to restrict myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This refusal to be defined narrowly has inspired him beyond the world that made his name. He is now putting together a major 1990s exhibition at Tate Britain, showcasing work by a roster of defining artists and photographers from the era. The show, he notes, aims to capture the decade's artistic collaboration – and highlight those who did not receive a spotlight at the time.

"Institutions sometimes neglected to celebrate the most relevant talents because they weren't of the expected background," he observes.

This venture itself uses a different strategy, eschewing traditional advertising in favour of partnership-based projects. "Our approach is, what can we achieve in partnership? Is it an event, a podcast? The magazine is one component of a larger creative platform."

Looking Forward Without Fear

Today, Enninful is regarded as one of the world's most influential creative power brokers. His path, he states, is a proof to the power of pursuing your passions.

What would the younger Edward react to the Edward of today? He chuckles. "He would be astonished, but he’d be proud. Back then I was sceptical of institutions. I would not have believed institutions like Tate were a place for someone like me."

He reflects. "I never take anything for granted. We lost our home, we left our homeland. I almost lost my vision. So there is no room for fear. People have underestimated me my whole career. But no obstacle is too great once I’ve decided to do something."