Edward Enninful discusses Modern Britain: 'Britain Feels Less Tolerant Now' Than in the 90s.

A chance encounter while riding the tube in 1988 changed forever the trajectory of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the London's buzzing 1990s artistic milieu, evolving from mannequin to stylist and, before turning twenty, becoming the fashion director of i-D magazine.

"It was the zenith of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I felt we’d be great friends. We all socialised across disciplines. Friday became Saturday into Sunday. I miss that energy."

If Enninful sounds wistful, he is in good company. In recent times, a fond idealisation of the 1990s has become pervasive. However in the intervening decades, Enninful believes a profound shift. "In my view, we’re less tolerant now than we were in the 90s," he remarks. "It’s not even this country – it’s everywhere."

A Cultural Backslide

This shift is increasingly evident: the rise of populist movements, the pushback against so-called "wokeness", and the return of Eurocentric beauty standards. In place of the optimism of the previous decade, currently a different political figure stands as a possible leader. Even, the Union Jack, once an symbol of cultural optimism, has returned as a polarising symbol.

In Enninful's view, the antidote has consistently been to celebrate culture in all its multifaceted forms. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a broad spectrum of cultural icons from art.

"People with a voice should wield it," he asserts, explaining those publishing choices. "People often debate about immigration; I could not have had this life if Britain were not a lenient country, if it did not offer my family a home and an opportunity. That’s the Britain I always loved. I trust this phase will pass."

A New Wave of Consciousness

He takes comfort in the younger generation: "They are far more conscious than we were. They talk about unconscious bias – I was not even aware what that was."

Those early experiences would shape a groundbreaking career built on boldness and diversity. Enninful set a precedent as the first man, first black man, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His time featured diverse covers showcasing Black models, curvy models, older individuals, and individuals from varied communities. Critically, sales grew.

"When you ignore huge sections of the population, it’s not just that you’re failing to represent – it’s commercially unwise," he emphasises.

Beyond the Magazine World

He has recently launched his new venture EE72 and its flagship publication, 72, his premier initiative since leaving his former post. He expresses a desire to continue being a "disruptor".

"I constantly interrogate the status quo. I was raised in a place where the majority was Black – the physicians, the lawyers, the leader. Then we came to England, penniless, and I became the 'other'. I was very shy. My teachers predicted I’d never amount to anything. Me and my brothers were harassed under the Sus laws … those experiences gave me a unique perspective on the inside and the outside."

In contrast to the stereotype of industry figures as loud and temperamental, Enninful is softly spoken and projects peace. His life has not been immune to challenges, including well-documented battles with depression and substance use.

He has also undergone significant health challenges, having had multiple operations on his eyes, leading to impaired eyesight. "I experienced such a dark place for two years, not working, terrified I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I vowed, if this ever passes, I’m just going to do everything that I was so afraid to do. I’m not going to confine myself to just being an editor or a figure in fashion."

A Foray into Curation

This determination to be defined narrowly has inspired him away from the realm that established him. He is now curating a major 1990s exhibition at Tate Britain, showcasing work by a host of influential artists and photographers from the era. The show, he explains, aims to capture the decade's interdisciplinary energy – and highlight those who did not receive adequate attention at the time.

"Galleries didn't always shine a light on the most relevant talents because they did not have the expected background," he observes.

This venture itself functions with a unique strategy, eschewing traditional advertising in favour of integrated partnerships. "We ask, what can we do together? Is it an event, a series? The magazine is part of a larger creative platform."

A Testament to Resilience

Today, Enninful operates as one of the world's most powerful industry leaders. His journey, he believes, is a testament to the power of pursuing your passions.

What would the Enninful of that era react to the man he has become? He chuckles. "It would be a surprise, but he’d be proud. At that time I was a rebel. I would not have believed institutions like Tate were a place for someone like me."

He adds. "Gratitude is key. We lost our home, we fled our country. I nearly lost my vision. So fear isn't an option. People have underestimated me my whole career. But no obstacle is too great once I’ve made up my mind to do something."