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

A serendipitous meeting during a tube journey in 1988 altered the trajectory of a teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the city's electric 1990s creative scene, evolving from mannequin to stylist and, before turning twenty, becoming the style editor of i-D magazine.

"That era was the peak of the Young British Artists – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I felt we’d be kindred spirits. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I long for that spontaneity."

While Enninful may seem sentimental, he is in good company. Recently, a wistful romanticisation of the 1990s has reached fever pitch. But since that time, Enninful feels a significant change. "I feel, we’re less accepting now than we were in the 90s," he remarks. "This isn't just this country – it’s worldwide."

A Perceived Regression

This change is difficult to overlook: the growth of nationalist groups, the backlash against so-called "wokeness", and the reinforcement of Eurocentric beauty standards. In place of the hope of the Blair era, today a more divisive political personality appears as a possible leader. Furthermore, the British flag, once an symbol of national pride, has sparked debate once more.

For Enninful, the response has long been to promote culture in all its variety. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a wide range of cultural icons from literature.

"Those in a position of influence should employ it," he asserts, discussing those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain hadn't been a open country, if it refused my family a home and an opportunity. That’s the Britain I always loved. I hope this period will pass."

Hope in the Next Generation

He draws solace in the younger generation: "Their awareness is greater than we were. They discuss unconscious bias – I was not even aware what that was."

Those early experiences would forge a trailblazing career built on boldness and representation. Enninful set a precedent as the first male, first Black editor, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His tenure featured landmark covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and people from all walks of life. Importantly, sales increased.

"To overlook vast segments of the population, it’s more than that you’re failing to represent – it’s a poor strategy," he emphasises.

Beyond the Magazine World

He has since founded his new venture EE72 and its flagship publication, 72, his key endeavour since leaving his former post. He says he wants to continue being a "innovator".

"I constantly interrogate the established norms. I was born and raised in a place where the majority was Black – the doctors, the attorneys, the president. Then we came to England, without funds, and I was a minority. I was very shy. My teachers predicted I’d achieve nothing. Me and my brothers were subject to police stops the Sus laws … those experiences gave me a sense of being both an insider and outsider."

Contrary to the caricature of industry figures as loud and temperamental, Enninful is measured in tone and radiates serenity. His journey has not been immune to challenges, including openly discussed battles with mental health and substance use.

He has also faced serious health issues, having had multiple operations on his eyes, resulting in limited vision. "I endured such a difficult period for two years, not working, terrified I was going to go blind. It’s comparable to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever ends, I’m just going to do everything that I was so afraid to do. I’m not going to limit myself to just being an editor or a fashion person."

A Foray into Curation

This refusal to be typecast has propelled him away from the realm that made his name. He is now curating a seminal 1990s exhibition at Tate Britain, featuring work by a host of pivotal artists and photographers from the era. The show, he notes, aims to explore the decade's creative cross-pollination – and give platform to those who did not receive due recognition at the time.

"Galleries often failed to shine a light on the most relevant talents because they weren't of the expected background," he comments.

This project itself operates on a different strategy, rejecting traditional advertising in favour of partnership-based projects. "We ask, what can we achieve in partnership? Is it an event, a podcast? The magazine is part of a broader vision."

Looking Forward Without Fear

Today, Enninful operates as one of the world's most respected industry leaders. His story, he states, is a proof to the power of defying expectations.

How would the Edward of the 90s react to the Edward of today? He laughs heartily. "He would be astonished, but he’d be pleased. Back then I was anti-establishment. I didn't think institutions like Tate were a place for someone like me."

He adds. "Gratitude is key. We lost our home, we fled our country. I almost lost my vision. So there is no room for fear. People have underestimated me my entire life. But nothing can stop me once I’ve set my intention to do something."