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

A chance encounter while riding the tube in 1988 altered 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, moving from model to stylist and, while still a teenager, becoming the fashion director of the publication i-D.

"It was the peak of the Young British Artists – 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 kindred spirits. We all mixed across disciplines. Friday became Saturday into Sunday. I yearn for that rawness."

If Enninful sounds nostalgic, he is not the only one. Recently, a wistful romanticisation of the 1990s has grown intense. However since that time, Enninful perceives 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 a global phenomenon."

A Perceived Regression

This shift is increasingly evident: the rise of populist movements, the backlash against progressive values, and the return of Eurocentric beauty standards. Replacing the hope of the previous decade, currently a more divisive political force appears as a potential leader. Furthermore, the British flag, once an emblem of national pride, has sparked debate once more.

According to Enninful, the solution has always been to champion culture in all its variety. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a wide range of cultural icons from literature.

"Those in a position of influence should use it," he asserts, referring to those publishing choices. "Everyone talks about immigration; I could not have had this life if Britain was not a welcoming country, if it hadn't given my family a home and an education. That’s the Britain I believed in. I trust this moment will end."

A New Wave of Consciousness

He finds hope in the next generation: "Their awareness is greater than we were. They talk about systemic issues – I was not even aware what that was."

His formative years would define a groundbreaking career characterised by boldness and inclusivity. Enninful broke barriers as the first man, first black man, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His leadership featured landmark covers showcasing models of colour, curvy models, an octogenarian, and individuals from varied communities. Critically, sales grew.

"When you ignore vast segments of the population, it’s not just that you’re not being inclusive – it’s a poor strategy," he explains.

Beyond the Magazine World

He has established his agency EE72 and its flagship publication, 72, his premier initiative since leaving his previous role. He states his aim to continue being a "innovator".

"I constantly interrogate the status quo. I was brought up in a place where the majority was Black – the physicians, the lawyers, the president. Then we arrived in England, with nothing, and I was a minority. I was incredibly timid. My teachers declared I’d never amount to anything. Me and my brothers were stopped by the police the Sus laws … all that gave me a sense of being both an insider and outsider."

Contrary to the stereotype of fashion editors as loud and temperamental, Enninful is calm and exudes calm. His life has involved adversity, including openly discussed battles with depression and substance use.

He has also undergone serious health issues, having had multiple operations on his eyes, leading to partial sight. "I endured such a dark place for two years, away from work, terrified I was going to go blind. It’s like PTSD; you just live in fear 24/7. I prayed, if this ever ends, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to restrict myself to just being an editor or a fashion person."

A Foray into Curation

This refusal to be typecast has led him outside the industry that made his name. He is now organising a seminal 1990s exhibition at Tate Britain, bringing together work by a roster of defining artists and photographers from the era. The show, he notes, aims to explore the decade's creative cross-pollination – and spotlight those who did not receive adequate attention at the time.

"Galleries often failed to celebrate the right artists because they weren't of the right pedigree," he states.

This project itself uses a novel business model, rejecting traditional advertising in favour of creative collaborations. "Our approach is, what can we create collaboratively? Is it an experience, a series? The magazine is part of a larger creative platform."

An Unstoppable Drive

Now, Enninful operates as one of the world's most respected cultural influencers. His path, he feels, is a demonstration to the power of pursuing your passions.

What would the Edward of the 90s react to the Edward of today? He smiles. "It would be a surprise, but he’d be proud. In those days I was sceptical of institutions. I never imagined institutions like Tate were necessarily for me."

He reflects. "Gratitude is key. We lost our home, we fled our country. I almost lost my vision. So fear isn't an option. People have underestimated me my entire life. But nothing can stop me once I’ve made up my mind to do something."