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

A chance encounter on the London Underground in 1988 changed forever the course of a teenage Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the capital's electric 1990s creative scene, progressing from mannequin to stylist and, while still a teenager, becoming the style editor of i-D magazine.

"It was the peak of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I knew we’d be kindred spirits. We all mixed across disciplines. Friday bled into Saturday into Sunday. I yearn for that spontaneity."

While Enninful may seem nostalgic, he is far from alone. In recent times, a wistful romanticisation of the 1990s has become pervasive. But over the last thirty years, Enninful believes a significant change. "I feel, we’re less accepting now than we were in the 90s," he remarks. "This isn't just this country – it’s everywhere."

Shifting Attitudes

This shift is increasingly evident: the resurgence of nationalist groups, the reaction against social awareness, and the return of narrow beauty standards. Where once there was the hope of the Blair era, today a more divisive political figure appears as a possible leader. Even, the British flag, once an badge of cultural optimism, has sparked debate once more.

In Enninful's view, the solution has consistently been to champion culture in all its multifaceted forms. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a diverse array of cultural icons from politics.

"People with a voice should use it," he asserts, referring to those publishing choices. "People often debate about immigration; I wouldn't be here if Britain were not a lenient country, if it hadn't given my family a home and an education. That’s the Britain I always loved. I hope this moment will fade."

A New Wave of Consciousness

He takes comfort in the next generation: "Their awareness is greater than we were. They talk about unconscious bias – I had no concept what that was."

Those early experiences would define a pioneering career characterised by fearlessness and inclusivity. Enninful set a precedent as the first man, first Black editor, first openly gay person, and first disabled Black gay man to lead at British Vogue. His time featured diverse covers showcasing people of diverse backgrounds, curvy models, an octogenarian, and people from varied communities. Critically, sales grew.

"To overlook huge sections of the population, it’s not just that you’re not being inclusive – it’s bad for business," he explains.

Beyond the Magazine World

He has since founded his agency EE72 and its flagship publication, 72, his key endeavour since moving on from his former post. He expresses a desire to continue being a "innovator".

"My nature is to challenge the established norms. I was born and raised in a place where the majority was Black – the doctors, the lawyers, the leader. Then we arrived in England, penniless, and I became the 'other'. I was very shy. My teachers predicted I’d achieve nothing. Me and my brothers were subject to police stops the Sus laws … all that gave me a sense of being between worlds."

Defying the popular image of industry figures as loud and temperamental, Enninful is calm and radiates serenity. His life has included its share of hardship, including publicly shared struggles with mental health and addiction.

He has also undergone serious health issues, having undergone several surgeries on his eyes, resulting in limited vision. "I experienced such a dark place for two years, away from work, terrified I was going to go blind. It’s like PTSD; you just live in fear 24/7. I prayed, if this ever ends, I’m just going to do everything that I was so fearful to do. I’m not going to limit myself to just being an editor or a fashion person."

Curating a Cultural Era

This refusal to fit into a box has propelled him away from the world that built his career. He is now curating a seminal 1990s exhibition at Tate Britain, featuring work by a host of defining artists and photographers from the era. The show, he explains, aims to explore the decade's interdisciplinary energy – and give platform to those who lacked adequate attention at the time.

"Galleries often failed to celebrate the truly innovative creators because they weren't of the traditional credentials," he states.

This venture itself uses a different strategy, eschewing traditional advertising in favour of integrated partnerships. "Our approach is, what can we achieve in partnership? Is it an experience, a series? The magazine is a piece within a larger creative platform."

An Unstoppable Drive

Now, Enninful stands as one of the world's most powerful creative power brokers. His path, he feels, is a testament to the power of pursuing your passions.

How would the younger Edward react to the his current self? He smiles. "He’d be in shock, but he’d be proud. Back then I was sceptical of institutions. I never imagined institutions like Tate were necessarily for me."

He pauses. "Gratitude is key. We were displaced, we left our homeland. I almost lost my vision. So fear is not a factor. People have counted me out my entire life. But nothing can stop me once I’ve decided to do something."