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

A serendipitous meeting on the London Underground in 1988 transformed the path of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the city's electric 1990s creative scene, moving from model to stylist and, by the age of 18, becoming the fashion director of the iconic i-D.

"It was the peak of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I knew we’d be great friends. We all hung out across disciplines. Friday bled into Saturday into Sunday. I miss that spontaneity."

While Enninful may seem nostalgic, he is far from alone. In recent times, a fond idealisation of the 1990s has become pervasive. But in the intervening decades, Enninful believes a significant change. "I feel, we’re less accepting now than we were in the 90s," he observes. "The issue extends beyond this country – it’s everywhere."

A Cultural Backslide

This change is increasingly evident: the rise of nationalist groups, the reaction against progressive values, and the return of Eurocentric beauty standards. Where once there was the optimism of the Blair era, currently a more divisive political personality looms as a potential leader. Furthermore, the British flag, once an symbol of cultural optimism, has returned as a polarising symbol.

In Enninful's view, the antidote has always been to champion culture in all its variety. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a wide range of prominent faces from music.

"People with a voice should wield it," he asserts, explaining those editorial decisions. "There is much discussion about immigration; I wouldn't be here if Britain was not a welcoming country, if it refused my family a home and an opportunity. That’s the Britain I believed in. I believe this period will end."

Hope in the Next Generation

He takes comfort in the youth of today: "Their awareness is greater than we were. They talk about implicit prejudice – I didn't even know what that was."

Those early experiences would forge a pioneering career characterised by boldness and representation. Enninful broke barriers as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His tenure featured landmark covers showcasing Black models, curvy models, an octogenarian, and people from varied communities. Significantly, sales grew.

"Ignoring large portions 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 established his creative company EE72 and its flagship publication, 72, his premier initiative since moving on from his previous role. He expresses a desire to continue being a "disruptor".

"My nature is to challenge the conventional wisdom. I was brought up in a place where everybody was black – the physicians, the attorneys, the president. Then we arrived in England, without funds, and I found myself on the margins. I was very shy. My teachers said I’d achieve nothing. Me and my brothers were harassed under the suspicion laws … those experiences gave me a sense of being between worlds."

Contrary to the popular image of industry figures as loud and temperamental, Enninful is softly spoken and projects peace. His path has included its share of adversity, including publicly shared battles with depression and addiction.

He has also endured significant health challenges, having undergone several surgeries on his eyes, now leaving him with partial sight. "I endured such a difficult period for two years, not working, fearing I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I prayed, if this ever ends, I’m just going to do everything that I was so scared to do. I’m not going to limit myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This determination to be defined narrowly has inspired him outside the realm that built his career. He is now organising a significant 1990s exhibition at Tate Britain, bringing together work by a host of influential artists and photographers from the era. The show, he says, aims to evoke the decade's creative cross-pollination – and highlight those who weren't given adequate attention at the time.

"Galleries sometimes neglected to celebrate the most relevant talents because they weren't of the right pedigree," he states.

This project itself operates on a different approach, forgoing traditional advertising in favour of creative collaborations. "We ask, what can we achieve in partnership? Is it an event, a podcast? The magazine is part of a broader vision."

A Testament to Resilience

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 following your instincts.

How would the younger Edward react to the his current self? He laughs heartily. "He would be astonished, but he’d be impressed. At that time I was a rebel. I didn't think institutions like Tate were necessarily for me."

He pauses. "I never take anything for granted. We were displaced, we fled our country. I came close to losing my vision. So fear isn't an option. People have underestimated me my whole career. But nothing can stop me once I’ve decided to do something."