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

A serendipitous meeting during a tube journey in 1988 altered the path of a teenage Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the London's vibrant 1990s creative scene, evolving from mannequin to stylist and, before turning twenty, becoming the style editor of the iconic i-D.

"That era was the peak of the Young British Artists – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I understood we’d be kindred spirits. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I long for that energy."

While Enninful may seem wistful, he is in good company. Recently, a longing look back of the 1990s has reached fever pitch. However over the last thirty years, Enninful feels a significant change. "In my view, we’re less accepting now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s everywhere."

A Perceived Regression

This change is increasingly evident: the resurgence of nationalist groups, the pushback against so-called "wokeness", and the reinforcement of Eurocentric beauty standards. Replacing the optimism of the previous decade, currently a more divisive political personality appears as a possible leader. Furthermore, the Union Jack, once an symbol of cultural optimism, has sparked debate once more.

According to Enninful, the response has always been to champion culture in all its diversity. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a diverse array of prominent faces from art.

"Those in a position of influence should employ it," he says, referring to those editorial decisions. "People often debate about immigration; I could not have had this life if Britain were not a welcoming country, if it refused my family a home and an opportunity. That’s the Britain I always loved. I hope this phase will fade."

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 didn't even know what that was."

The beginnings of his career would define a pioneering career built on fearlessness and representation. Enninful set a precedent as the first male, first black man, first gay man, and first disabled gay man of colour to lead at British Vogue. His tenure featured landmark covers showcasing models of colour, plus-sized women, older individuals, and people from varied communities. Critically, sales increased.

"To overlook huge sections of the population, it’s not just that you’re not being inclusive – it’s commercially unwise," he emphasises.

A New Chapter as a 'Disruptor'

He has established his agency EE72 and its accompanying magazine, 72, his key endeavour since departing his former post. He says he wants to continue being a "change-maker".

"My nature is to challenge the established norms. I was raised in a place where the majority was Black – the physicians, the lawyers, the president. Then we arrived in England, with nothing, and I became the 'other'. I was painfully reserved. My teachers declared I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … this duality gave me a sense of being between worlds."

In contrast to the caricature of industry figures as brash and temperamental, Enninful is softly spoken and exudes calm. His journey has not been immune to hardship, including openly discussed periods of depression and addiction.

He has also undergone serious health issues, having had multiple operations on his eyes, resulting in limited vision. "I endured such a dark place for two years, away from work, fearing 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 do everything that I was so afraid 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 be typecast has inspired him away from the realm that built his career. He is now curating a seminal 1990s exhibition at Tate Britain, bringing together work by a roster of influential artists and photographers from the era. The show, he notes, aims to evoke the decade's creative cross-pollination – and give platform to those who did not receive due recognition at the time.

"Galleries often failed to shine a light on the truly innovative creators because they lacked the expected background," he observes.

This project itself functions with a unique business model, rejecting traditional advertising in favour of creative collaborations. "The question is, what can we do together? Is it an event, a podcast? The magazine is a piece within a greater ecosystem."

Looking Forward Without Fear

Currently, Enninful is regarded as one of the world's most powerful creative power brokers. His story, he feels, is a proof to the power of following your instincts.

What would the younger Edward make of the his current self? He laughs heartily. "It would be a surprise, but he’d be pleased. At that time I was a rebel. I didn't think institutions like Tate were a place for someone like me."

He pauses. "I never take anything for granted. We lost our home, we left our homeland. I nearly lost my vision. So there is no room for fear. People have doubted me my whole career. But no obstacle is too great once I’ve made up my mind to do something."