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

A serendipitous meeting on the London Underground in 1988 changed forever the trajectory of a young Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the London's buzzing 1990s cultural landscape, evolving from mannequin to stylist and, by the age of 18, becoming the style editor of the publication i-D.

"It was the peak of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I understood we’d be close. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I miss that rawness."

While Enninful may seem wistful, he is not the only one. In recent times, a fond idealisation of the 1990s has become pervasive. Yet in the intervening decades, Enninful perceives a profound shift. "I feel, we’re less accepting now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s everywhere."

A Cultural Backslide

This change is increasingly evident: the resurgence of nationalist groups, the reaction against so-called "wokeness", and the reinforcement of narrow beauty standards. Where once there was the optimism of the previous decade, now a more divisive political personality stands as a potential leader. Furthermore, the Union Jack, once an symbol of national pride, has sparked debate once more.

According to Enninful, the response has long been to champion culture in all its multifaceted forms. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a broad spectrum of prominent faces from music.

"Individuals with a platform should use it," he comments, referring to those publishing choices. "There is much discussion about immigration; I could not have had this life if Britain were not a welcoming country, if it refused my family a refuge and an opportunity. That’s the Britain I always loved. I believe this period will end."

A New Wave of Consciousness

He draws solace in the next generation: "They’re much more aware 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 marked by fearlessness and inclusivity. Enninful broke barriers as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His leadership featured historic front pages showcasing models of colour, plus-sized women, an octogenarian, and people from varied communities. Importantly, sales increased.

"Ignoring vast segments of the population, it’s not just that you’re excluding people – it’s bad for business," he states.

Beyond the Magazine World

He has since founded his creative company EE72 and its accompanying magazine, 72, his first major project since departing his former post. He says he wants to continue being a "change-maker".

"I’ve always questioned the status quo. I was brought up in a place where Black professionals were the norm – the physicians, the lawyers, the leader. Then we came to England, penniless, and I found myself on the margins. I was very shy. My teachers predicted I’d never amount to anything. Me and my brothers were subject to police stops the suspicion laws … those experiences gave me a dual identity between worlds."

Contrary to the stereotype of industry figures as loud and temperamental, Enninful is softly spoken and projects peace. His life has included its share of hardship, including publicly shared battles with depression and substance use.

He has also endured serious health challenges, having had multiple operations on his eyes, leading to partial sight. "I endured such a dark place for two years, away from work, anxious 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 is over, I’m just going to pursue all that I was so scared to do. I’m not going to confine myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This determination to be defined narrowly has propelled him beyond the realm that built his career. He is now putting together a major 1990s exhibition at Tate Britain, featuring work by a roster of influential artists and photographers from the era. The show, he explains, aims to explore the decade's artistic collaboration – and spotlight those who did not receive due recognition at the time.

"Galleries sometimes neglected to celebrate the most relevant talents because they did not have the traditional credentials," he states.

This venture itself uses a different strategy, forgoing traditional advertising in favour of creative collaborations. "Our approach is, what can we achieve in partnership? Is it an event, a podcast? The magazine is part of a broader vision."

Looking Forward Without Fear

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

What would the Enninful of that era react to the his current self? He smiles. "He would be astonished, but he’d be proud. Back then I was a rebel. I never imagined institutions like Tate were within my reach."

He adds. "Nothing is assumed. We fled, we left our homeland. I nearly lost my vision. So fear is not a factor. People have doubted me my whole career. But nothing can stop me once I’ve made up my mind to do something."