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 path of a teenage Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was quickly drawn into the capital's electric 1990s creative scene, evolving from model to stylist and, while still a teenager, becoming the fashion director of i-D magazine.

"That era was the zenith of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I understood we’d be kindred spirits. We all mixed across disciplines. Friday became Saturday into Sunday. I long for that rawness."

Although Enninful appears sentimental, he is not the only one. In recent times, a fond idealisation of the 1990s has become pervasive. But since that time, Enninful believes a noticeable regression. "In my view, we’re less tolerant now than we were in the 90s," he says. "This isn't just this country – it’s a global phenomenon."

A Perceived Regression

This shift is increasingly evident: the growth of populist movements, the pushback against social awareness, and the return of Eurocentric beauty standards. Replacing the hope of the Blair era, now a more divisive political personality appears as a possible leader. Even, the British flag, once an badge of cultural optimism, has become contentious again.

In Enninful's view, the solution has always been to celebrate culture in all its variety. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a broad spectrum of cultural icons from art.

"Individuals with a platform should use it," he comments, explaining those publishing choices. "There is much discussion about immigration; I could not have had this life if Britain hadn't been a open country, if it refused my family a home and an education. That’s the Britain I always loved. I believe this phase will pass."

The Younger Generation's Awareness

He draws solace in the younger generation: "Their awareness is greater than we were. They analyse implicit prejudice – I didn't even know what that was."

Those early experiences would define a pioneering career marked by fearlessness and inclusivity. Enninful broke barriers as the first male, first black man, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His tenure featured diverse covers showcasing Black models, curvy models, older individuals, and individuals from varied communities. Critically, sales grew.

"To overlook large portions of the population, it’s more than that you’re excluding people – it’s a poor strategy," he explains.

A New Chapter as a 'Disruptor'

He has established his new venture EE72 and its flagship publication, 72, his first major project since departing his former post. He expresses a desire to continue being a "innovator".

"I’ve always questioned the conventional wisdom. I was brought up in a place where the majority was Black – the doctors, the lawyers, the president. Then we arrived in England, penniless, and I was a minority. I was painfully reserved. My teachers said I’d never amount to anything. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a dual identity between worlds."

Contrary to the caricature of industry figures as loud and highly strung, Enninful is softly spoken and radiates serenity. His life has involved adversity, including publicly shared periods of depression and substance use.

He has also faced serious health issues, having undergone several surgeries on his eyes, now leaving him with limited vision. "I was in such a dark place for two years, away from work, fearing I was going to go blind. It’s comparable to PTSD; you just exist in a state of dread 24/7. I thought, if this ever passes, I’m just going to pursue all that I was so fearful to do. I’m not going to confine myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This refusal 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 pivotal artists and photographers from the era. The show, he notes, aims to explore the decade's creative cross-pollination – and highlight those who did not receive due recognition at the time.

"Galleries didn't always shine a light on the most relevant talents because they weren't of the traditional credentials," he observes.

This venture itself uses a unique business model, forgoing traditional advertising in favour of creative collaborations. "Our approach is, what can we do together? Is it an event, a series? The magazine is a piece within a larger creative platform."

A Testament to Resilience

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

What would the Enninful of that era react to the Edward of today? He laughs heartily. "He’d be in shock, but he’d be pleased. In those days I was sceptical of institutions. I never imagined institutions like Tate were a place for someone like me."

He adds. "Nothing is assumed. We lost our home, we left our homeland. I almost lost my vision. So there is no room for fear. People have counted me out my whole career. But I am unstoppable once I’ve set my intention to do something."