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

An unexpected discovery during a tube journey in 1988 changed forever the trajectory of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the city's buzzing 1990s cultural landscape, progressing from model to stylist and, while still a teenager, becoming the fashion director of the iconic i-D.

"It was the peak of the Young British Artists – Jay Jopling, Tracey Emin. 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 became Saturday into Sunday. I miss that spontaneity."

Although Enninful appears wistful, he is in good company. Recently, a wistful romanticisation of the 1990s has reached fever pitch. However over the last thirty years, Enninful perceives a profound shift. "I believe, we’re less accepting now than we were in the 90s," he says. "It’s not even this country – it’s worldwide."

Shifting Attitudes

This change is increasingly evident: the resurgence of nationalist groups, the backlash against progressive values, and the return of traditional beauty standards. In place of the optimism of the late 90s, now a more divisive political personality appears as a possible leader. Even, the British flag, once an symbol of cultural optimism, has become contentious again.

For Enninful, the response has long been to celebrate culture in all its diversity. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a broad spectrum of influential figures from music.

"Individuals with a platform should employ it," he comments, explaining those editorial decisions. "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 refuge and an education. That’s the Britain I always loved. I trust this moment will pass."

A New Wave of Consciousness

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

The beginnings of his career would forge a pioneering career built on 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 assume the editorship at British Vogue. His tenure featured diverse covers showcasing people of diverse backgrounds, curvy models, an octogenarian, and people from varied communities. Significantly, sales rose.

"When you ignore huge sections of the population, it’s more than that you’re excluding people – it’s a poor strategy," he states.

Beyond the Magazine World

He has since founded his new venture EE72 and its flagship publication, 72, his premier initiative since leaving his former post. He states his aim to continue being a "change-maker".

"My nature is to challenge the status quo. I was born and raised in a place where Black professionals were the norm – the doctors, the attorneys, the president. Then we came to England, penniless, and I found myself on the margins. I was painfully reserved. My teachers said I’d never amount to anything. Me and my brothers were subject to police stops the suspicion laws … this duality gave me a dual identity both an insider and outsider."

In contrast to the caricature of fashion editors as loud and highly strung, Enninful is softly spoken and exudes calm. His life has not been immune to challenges, including well-documented battles with mental health and substance use.

He has also faced significant health issues, having undergone several surgeries on his eyes, resulting in limited vision. "I was in such a time of fear for two years, not working, terrified I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I prayed, if this ever is over, I’m just going to pursue all that I was so fearful to do. I’m not going to limit myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This refusal to be typecast has inspired him outside the industry that built his career. He is now organising a significant 1990s exhibition at Tate Britain, bringing together work by a roster of pivotal artists and photographers from the era. The show, he explains, aims to capture the decade's artistic collaboration – and spotlight those who did not receive adequate attention at the time.

"The establishment sometimes neglected to promote the truly innovative creators because they weren't of the expected background," he states.

This project itself uses a novel approach, rejecting traditional advertising in favour of creative collaborations. "The question is, what can we create collaboratively? Is it an event, a series? The magazine is a piece within a greater ecosystem."

Looking Forward Without Fear

Now, Enninful operates as one of the world's most respected industry leaders. His journey, he feels, is a testament to the power of following your instincts.

How would the Edward of the 90s make of the man he has become? He smiles. "It would be a surprise, but he’d be pleased. Back then I was sceptical of institutions. I would not have believed institutions like Tate were necessarily for me."

He adds. "Nothing is assumed. We fled, we fled our country. I almost lost my vision. So there is no room for fear. People have doubted me my entire life. But I am unstoppable once I’ve set my intention to do something."