Edward Enninful on Modern Britain: 'We Are Less Tolerant Now' Than We Were Decades Ago.

A serendipitous meeting while riding the tube in 1988 transformed the trajectory of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the London's vibrant 1990s artistic milieu, evolving from mannequin to stylist and, before turning twenty, becoming the style editor of i-D magazine.

"It was the zenith 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 socialised across disciplines. Friday became Saturday into Sunday. I yearn for that spontaneity."

If Enninful sounds sentimental, he is not the only one. Lately, a wistful romanticisation of the 1990s has grown intense. Yet since that time, Enninful perceives a noticeable regression. "I feel, we’re less accepting now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s a global phenomenon."

Shifting Attitudes

This shift is increasingly evident: the growth of far-right politics, the backlash against so-called "wokeness", and the return of Eurocentric beauty standards. Replacing the hope of the Blair era, currently a more divisive political personality looms as a possible leader. Furthermore, the Union Jack, once an badge of national pride, has become contentious again.

According to Enninful, the solution has long been to champion culture in all its diversity. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a wide range of influential figures from music.

"Individuals with a platform should wield it," he says, explaining those editorial decisions. "People often debate about immigration; I could not have had this life if Britain hadn't been a lenient country, if it hadn't given my family a home and an education. That’s the Britain I cherished. I believe this moment will fade."

Hope in the Next Generation

He finds hope in the younger generation: "They are far more conscious than we were. They talk about unconscious bias – I didn't even know what that was."

Those early experiences would shape a pioneering career marked by boldness and diversity. Enninful made history as the first male, first black man, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His time featured historic front pages showcasing Black models, plus-sized women, older individuals, and people from all walks of life. Importantly, sales rose.

"When you ignore large portions of the population, it’s more than that you’re excluding people – it’s bad for business," he emphasises.

Launching a Creative Venture

He has established his new venture EE72 and its accompanying magazine, 72, his first major project since departing his previous role. He expresses a desire to continue being a "change-maker".

"I constantly interrogate the established norms. I was raised in a place where everybody was black – the doctors, the attorneys, the leader. Then we arrived in England, without funds, and I was a minority. I was very shy. My teachers declared I’d never amount to anything. Me and my brothers were subject to police stops the Sus laws … all that gave me a sense of being both an insider and outsider."

Contrary to the popular image of fashion editors as loud and highly strung, Enninful is softly spoken and radiates serenity. His life has not been immune to adversity, including openly discussed battles with depression and substance use.

He has also endured serious health challenges, having undergone several surgeries on his eyes, leading to impaired eyesight. "I experienced such a difficult period for two years, not working, anxious I was going to lose my sight. It’s comparable to PTSD; you just exist in a state of dread 24/7. I thought, if this ever is over, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to confine myself to just being an editor or a fashion person."

Curating a Cultural Era

This refusal to be typecast has led him beyond the world that made his name. He is now curating 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 evoke the decade's artistic collaboration – and highlight those who lacked a spotlight at the time.

"Galleries didn't always celebrate the most relevant talents because they lacked the traditional credentials," he observes.

This project itself functions with a different strategy, eschewing traditional advertising in favour of integrated partnerships. "The question is, what can we achieve in partnership? Is it an experience, a series? The magazine is one component of a larger creative platform."

A Testament to Resilience

Currently, Enninful stands as one of the world's most powerful cultural influencers. His journey, he states, is a demonstration to the power of defying expectations.

How would the Enninful of that era make of the Edward of today? He laughs heartily. "He’d be in shock, but he’d be impressed. Back then I was anti-establishment. I never imagined institutions like Tate were a place for someone like me."

He pauses. "I never take anything for granted. We were displaced, we left our homeland. I nearly lost my vision. So there is no room for fear. People have counted me out my whole career. But nothing can stop me once I’ve decided to do something."