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

A serendipitous meeting during a tube journey in 1988 transformed the trajectory of a teenage Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the London's vibrant 1990s creative scene, evolving from mannequin to stylist and, while still a teenager, becoming the style editor of the publication i-D.

"It was the zenith of the YBA movement – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I knew we’d be great friends. We all socialised across disciplines. Friday bled into Saturday into Sunday. I long for that energy."

While Enninful may seem nostalgic, he is in good company. Recently, a longing look back of the 1990s has reached fever pitch. Yet over the last thirty years, Enninful believes a profound shift. "I feel, we’re less accepting now than we were in the 90s," he remarks. "It’s not even this country – it’s worldwide."

A Perceived Regression

This regression is hard to ignore: the resurgence of populist movements, the pushback against social awareness, and the reinforcement of Eurocentric beauty standards. In place of the hope of the previous decade, today a more divisive political personality appears as a potential leader. Furthermore, the British flag, once an symbol of cultural optimism, has become contentious again.

According to Enninful, the response has always been to promote culture in all its diversity. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a diverse array of cultural icons from literature.

"Those in a position of influence should use it," he asserts, discussing those publishing choices. "People often debate about immigration; I wouldn't be here if Britain were not a open country, if it did not offer my family a refuge and an opportunity. That’s the Britain I believed in. I believe this period will fade."

Hope in the Next Generation

He draws solace in the next generation: "They are far more conscious than we were. They talk about implicit prejudice – I didn't even know what that was."

Those early experiences would define a groundbreaking career built on boldness and diversity. Enninful set a precedent as the first male, first black man, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His leadership featured historic front pages showcasing models of colour, curvy models, older individuals, and individuals from all walks of life. Critically, sales increased.

"When you ignore vast segments of the population, it’s not just that you’re excluding people – it’s commercially unwise," he states.

Launching a Creative Venture

He has since founded his creative company EE72 and its flagship publication, 72, his key endeavour since moving on from his former post. He expresses a desire to continue being a "disruptor".

"I constantly interrogate the status quo. I was brought up in a place where Black professionals were the norm – the physicians, the attorneys, the leader. Then we came to England, with nothing, and I found myself on the margins. I was painfully reserved. My teachers declared I’d have no future. Me and my brothers were harassed under the suspicion laws … this duality gave me a unique perspective between worlds."

Contrary to the caricature of fashion editors as brash and highly strung, Enninful is calm and exudes calm. His path has included its share of challenges, including publicly shared periods of depression and addiction.

He has also undergone serious health challenges, having undergone several surgeries on his eyes, now leaving him with limited vision. "I was in such a difficult period for two years, not working, fearing I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I vowed, if this ever is over, I’m just going to do everything that I was so scared to do. I’m not going to restrict myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This determination to fit into a box has inspired him outside the industry that established him. He is now curating a major 1990s exhibition at Tate Britain, showcasing work by a host of defining artists and photographers from the era. The show, he notes, aims to evoke the decade's interdisciplinary energy – and highlight those who weren't given adequate attention at the time.

"The establishment sometimes neglected to celebrate the most relevant talents because they lacked the right pedigree," he observes.

This project itself uses a unique business model, forgoing traditional advertising in favour of integrated partnerships. "We ask, what can we achieve in partnership? Is it an event, a series? The magazine is part of a greater ecosystem."

A Testament to Resilience

Today, Enninful is regarded as one of the world's most respected cultural influencers. His journey, he believes, is a testament to the power of pursuing your passions.

What would the younger Edward make of the man he has become? He chuckles. "He’d be in shock, but he’d be pleased. In those days I was a rebel. I didn't think institutions like Tate were within my reach."

He adds. "I never take anything for granted. We lost our home, we fled our country. I came close to losing my vision. So fear is not a factor. People have underestimated me my whole career. But I am unstoppable once I’ve decided to do something."