Edward Enninful on Modern Britain: 'We Are Less Tolerant Now' Compared to the Nineties.

A serendipitous meeting while riding the tube in 1988 changed forever the trajectory of a young Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the capital's electric 1990s creative scene, progressing from model to stylist and, by the age of 18, becoming the fashion director of i-D magazine.

"It was the zenith of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I knew we’d be kindred spirits. We all hung out across disciplines. Friday became Saturday into Sunday. I miss that energy."

Although Enninful appears nostalgic, he is not the only one. Recently, a fond idealisation of the 1990s has become pervasive. Yet since that time, Enninful believes a profound shift. "I believe, we’re less accepting now than we were in the 90s," he says. "This isn't just this country – it’s worldwide."

A Perceived Regression

This regression is difficult to overlook: the resurgence of nationalist groups, the reaction against progressive values, and the reinforcement of Eurocentric beauty standards. In place of the hope of the late 90s, now a more divisive political personality appears as a potential leader. Even, the Union Jack, once an emblem of Cool Britannia, has returned as a polarising symbol.

For Enninful, the antidote has consistently been to celebrate culture in all its diversity. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a diverse array of prominent faces from music.

"People with a voice should employ it," he asserts, referring to those publishing choices. "People often debate about immigration; I wouldn't be here if Britain hadn't been a welcoming country, if it refused my family a home and an education. That’s the Britain I always loved. I believe this period will end."

Hope in the Next Generation

He draws solace in the younger generation: "Their awareness is greater than we were. They analyse systemic issues – I was not even aware what that was."

Those early experiences would shape a pioneering career built on fearlessness and inclusivity. Enninful set a precedent as the first male, first black man, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His tenure featured diverse covers showcasing models of colour, plus-sized women, an octogenarian, and individuals from varied communities. Critically, sales increased.

"To overlook large portions of the population, it’s not just that you’re failing to represent – it’s a poor strategy," he emphasises.

Beyond the Magazine World

He has recently launched his agency EE72 and its flagship publication, 72, his key endeavour since leaving his previous role. He expresses a desire to continue being a "disruptor".

"I’ve always questioned the status quo. I was born and raised in a place where the majority was Black – the physicians, the lawyers, the leader. Then we came to England, without funds, and I was a minority. I was incredibly timid. My teachers declared I’d achieve nothing. Me and my brothers were stopped by the police the suspicion laws … those experiences gave me a sense of being both an insider and outsider."

In contrast to the caricature of fashion editors as loud and highly strung, Enninful is measured in tone and projects peace. His life has involved challenges, including openly discussed struggles with mental health and substance use.

He has also undergone significant health issues, having undergone several surgeries on his eyes, leading to partial sight. "I experienced such a time of fear for two years, not working, fearing I was going to go blind. It’s similar to 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 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 drive to be defined narrowly has led him beyond the industry that made his name. He is now curating a seminal 1990s exhibition at Tate Britain, featuring work by a group of influential artists and photographers from the era. The show, he explains, aims to capture the decade's interdisciplinary energy – and give platform to those who weren't given due recognition at the time.

"Galleries didn't always shine a light on the right artists because they did not have the traditional credentials," he states.

This venture itself functions with a novel approach, forgoing traditional advertising in favour of integrated partnerships. "The question is, what can we do together? Is it an event, a series? The magazine is a piece within a larger creative platform."

Looking Forward Without Fear

Now, Enninful is regarded as one of the world's most respected cultural influencers. His story, he believes, is a proof to the power of following your instincts.

How would the Edward of the 90s react to the man he has become? He laughs heartily. "He would be astonished, but he’d be impressed. Back then I was sceptical of institutions. I never imagined institutions like Tate were a place for someone like me."

He reflects. "Nothing is assumed. We were displaced, we left our homeland. I nearly lost my vision. So there is no room for fear. People have underestimated me my entire life. But nothing can stop me once I’ve decided to do something."