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

A serendipitous meeting on the London Underground in 1988 changed forever the course of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the city's vibrant 1990s cultural landscape, progressing from mannequin to stylist and, by the age of 18, becoming the style editor of the publication i-D.

"That era was the zenith of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I felt we’d be great friends. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I miss that rawness."

Although Enninful appears nostalgic, he is far from alone. Lately, a longing look back of the 1990s has grown intense. But over the last thirty years, Enninful perceives a noticeable regression. "I believe, we’re more divided now than we were in the 90s," he observes. "The issue extends beyond this country – it’s a global phenomenon."

A Cultural Backslide

This shift is hard to ignore: the rise of far-right politics, the backlash against social awareness, and the return of narrow beauty standards. Replacing the hope of the previous decade, currently a different political personality stands as a possible leader. Furthermore, the British flag, once an badge of national pride, has become contentious again.

For Enninful, the antidote has long been to champion culture in all its diversity. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a broad spectrum of cultural icons from politics.

"People with a voice should wield it," he says, referring to those publishing choices. "Everyone talks about immigration; I would not be in this position if Britain was not a open country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I believed in. I hope this phase will end."

The Younger Generation's Awareness

He takes comfort in the younger generation: "They’re much more aware than we were. They analyse systemic issues – I had no concept what that was."

His formative years would forge a groundbreaking career marked by fearlessness and inclusivity. Enninful made history as the first male, first Black editor, first gay man, and first disabled Black gay man to lead at British Vogue. His tenure featured landmark covers showcasing Black models, plus-sized women, older individuals, and individuals from varied communities. Importantly, sales increased.

"To overlook vast segments of the population, it’s more than that you’re excluding people – it’s bad for business," he explains.

A New Chapter as a 'Disruptor'

He has recently launched his agency EE72 and its accompanying magazine, 72, his first major project since leaving his former post. He says he wants to continue being a "change-maker".

"I constantly interrogate the established norms. I was born and raised in a place where everybody was black – the physicians, the attorneys, the leader. Then we arrived in England, with nothing, and I became the 'other'. I was very shy. My teachers said I’d never amount to anything. Me and my brothers were stopped by the police the suspicion laws … those experiences gave me a sense of being on the inside and the outside."

Defying the stereotype of fashion editors as brash and temperamental, Enninful is calm and exudes calm. His path has included its share of challenges, including publicly shared struggles with depression and substance use.

He has also endured significant health issues, having undergone several surgeries on his eyes, leading to limited vision. "I was in such a difficult period 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 thought, 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 refusal to be typecast has inspired him away from the world that established him. He is now organising a seminal 1990s exhibition at Tate Britain, showcasing work by a roster of influential artists and photographers from the era. The show, he explains, aims to capture the decade's artistic collaboration – and highlight those who weren't given adequate attention at the time.

"Galleries didn't always shine a light on the truly innovative creators because they lacked the expected background," he states.

The magazine 72 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 podcast? The magazine is part of a larger creative platform."

A Testament to Resilience

Now, Enninful is regarded as one of the world's most influential creative power brokers. His journey, he believes, is a proof to the power of defying expectations.

What would the Edward of the 90s react to the Edward of today? He laughs heartily. "It would be a surprise, but he’d be proud. In those days I was anti-establishment. I would not have believed institutions like Tate were within my reach."

He adds. "Gratitude is key. We were displaced, we left our homeland. I came close to losing my vision. So fear isn't an option. People have underestimated me my entire life. But I am unstoppable once I’ve made up my mind to do something."