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

An unexpected discovery on the London Underground in 1988 changed forever the course of a young Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the capital's electric 1990s cultural landscape, moving from mannequin to stylist and, before turning twenty, becoming the style editor of the iconic i-D.

"That era was the height of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "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 miss that energy."

Although Enninful appears sentimental, he is in good company. In recent times, a fond idealisation of the 1990s has grown intense. However in the intervening decades, Enninful feels a noticeable regression. "I feel, we’re less tolerant now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s worldwide."

A Perceived Regression

This shift is increasingly evident: the resurgence of far-right politics, the pushback against social awareness, and the return of Eurocentric beauty standards. Replacing the optimism of the late 90s, currently a more divisive political personality looms as a potential leader. Furthermore, the British flag, once an emblem of national pride, has returned as a polarising symbol.

In Enninful's view, the response has long been to promote 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, showcasing a diverse array of prominent faces from literature.

"Those in a position of influence should wield it," he asserts, explaining those publishing choices. "Everyone talks about immigration; I would not be in this position if Britain were not a welcoming country, if it did not offer my family a home and an opportunity. That’s the Britain I always loved. I believe this period 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."

His formative years would define a pioneering career characterised by boldness and diversity. Enninful set a precedent as the first man, first black man, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His tenure featured diverse covers showcasing models of colour, plus-sized women, older individuals, and individuals from varied communities. Significantly, sales increased.

"When you ignore 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 recently launched his agency EE72 and its accompanying magazine, 72, his key endeavour since moving on from his previous role. He expresses a desire to continue being a "disruptor".

"I’ve always questioned the status quo. I was raised in a place where the majority was Black – the doctors, the lawyers, the leader. Then we came to England, with nothing, and I found myself on the margins. I was very shy. My teachers declared I’d have no future. Me and my brothers were subject to police stops the suspicion laws … those experiences gave me a dual identity between worlds."

In contrast to the caricature of fashion editors as brash and highly strung, Enninful is measured in tone and radiates serenity. His path has included its share of adversity, including openly discussed battles with mental health and addiction.

He has also faced significant health issues, having had multiple operations on his eyes, now leaving him with impaired eyesight. "I experienced such a time of fear for two years, away from work, anxious I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I vowed, if this ever ends, 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."

The Tate Britain Exhibition

This determination to fit into a box has led him away from the industry that established him. He is now organising a major 1990s exhibition at Tate Britain, showcasing work by a roster of influential artists and photographers from the era. The show, he notes, aims to evoke the decade's artistic collaboration – and spotlight those who weren't given adequate attention at the time.

"Institutions sometimes neglected to promote the right artists because they lacked the expected background," he observes.

The magazine 72 itself uses a novel business model, rejecting traditional advertising in favour of partnership-based projects. "The question is, what can we do together? Is it an experience, a series? The magazine is part of a greater ecosystem."

Looking Forward Without Fear

Currently, Enninful is regarded as one of the world's most respected industry leaders. His path, he believes, is a proof to the power of pursuing your passions.

How would the younger Edward think of the his current self? He smiles. "He would be astonished, but he’d be pleased. At that time I was anti-establishment. I didn't think institutions like Tate were a place for someone like me."

He reflects. "I never take anything for granted. We fled, we fled our country. I nearly lost 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."