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

An unexpected discovery on the London Underground in 1988 altered the path of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the city's vibrant 1990s artistic milieu, moving from model to stylist and, before turning twenty, becoming the style editor of i-D magazine.

"That time was the peak of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I felt we’d be kindred spirits. We all socialised across disciplines. Friday became Saturday into Sunday. I yearn for that rawness."

While Enninful may seem wistful, he is far from alone. Lately, a fond idealisation of the 1990s has become pervasive. But over the last thirty years, Enninful feels a noticeable regression. "I feel, we’re less accepting now than we were in the 90s," he remarks. "It’s not even this country – it’s everywhere."

Shifting Attitudes

This change is difficult to overlook: the growth of nationalist groups, the backlash against so-called "wokeness", and the return of narrow beauty standards. Replacing the hope of the previous decade, now a different political personality looms as a possible leader. Even, the Union Jack, once an badge of Cool Britannia, has sparked debate once more.

According to Enninful, the response has always been to promote culture in all its variety. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a broad spectrum of influential figures from art.

"People with a voice should wield it," he comments, discussing those publishing choices. "There is much discussion about immigration; I wouldn't be here if Britain was not a welcoming country, if it hadn't given my family a home and an education. That’s the Britain I always loved. I believe this phase will pass."

Hope in the Next Generation

He takes comfort in the next generation: "Their awareness is greater than we were. They talk about unconscious bias – I didn't even know what that was."

Those early experiences would forge a pioneering career characterised by boldness and representation. Enninful broke barriers as the first man, first Black editor, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His time featured historic front pages showcasing models of colour, plus-sized women, older individuals, and individuals from varied communities. Significantly, sales grew.

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

A New Chapter as a 'Disruptor'

He has recently launched his agency EE72 and its flagship publication, 72, his first major project since leaving his previous role. He states his aim to continue being a "disruptor".

"My nature is to challenge the status quo. I was born and raised in a place where everybody was black – the doctors, 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 unique perspective both an insider and outsider."

In contrast to the stereotype of industry figures as loud and highly strung, Enninful is softly spoken and radiates serenity. His path has involved challenges, including publicly shared struggles with depression and substance use.

He has also faced significant health issues, having had multiple operations on his eyes, now leaving him with limited vision. "I experienced such a difficult period for two years, not working, terrified I was going to go blind. It’s comparable to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever passes, I’m just going to pursue all that I was so scared to do. I’m not going to limit myself to just being an editor or a fashion person."

A Foray into Curation

This determination to fit into a box has inspired him away from the industry that made his name. He is now organising a major 1990s exhibition at Tate Britain, showcasing work by a host of influential artists and photographers from the era. The show, he says, aims to evoke the decade's creative cross-pollination – and highlight those who lacked adequate attention at the time.

"Galleries sometimes neglected to shine a light on the truly innovative creators because they lacked the traditional credentials," he states.

This venture itself functions with a different business model, rejecting traditional advertising in favour of integrated partnerships. "The question is, what can we create collaboratively? Is it an event, a series? The magazine is a piece within a greater ecosystem."

An Unstoppable Drive

Currently, Enninful is regarded as one of the world's most influential creative power brokers. His story, he states, is a testament to the power of pursuing your passions.

What would the Enninful of that era make of the Edward of today? He laughs heartily. "He would be astonished, but he’d be pleased. At that time I was anti-establishment. I never imagined institutions like Tate were necessarily for me."

He reflects. "Gratitude is key. We lost our home, we fled our country. I came close to losing my vision. So fear isn't an option. People have counted me out my entire life. But nothing can stop me once I’ve set my intention to do something."