Edward Enninful on Modern Britain: 'A Decline in Tolerance' Than in the 90s.

A chance encounter during a tube journey in 1988 changed forever the course of a young Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was quickly drawn into the city's electric 1990s artistic milieu, progressing from model to stylist and, by the age of 18, becoming the style editor of i-D magazine.

"That time was the zenith of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I felt we’d be kindred spirits. We all hung out across disciplines. Friday bled into Saturday into Sunday. I miss that spontaneity."

Although Enninful appears nostalgic, he is not the only one. Recently, a wistful romanticisation of the 1990s has grown intense. Yet since that time, Enninful believes a profound shift. "I believe, we’re less accepting now than we were in the 90s," he says. "The issue extends beyond this country – it’s worldwide."

Shifting Attitudes

This change is increasingly evident: the resurgence of far-right politics, the reaction against progressive values, and the reassertion of traditional beauty standards. Replacing the hope of the Blair era, today a more divisive political figure appears as a potential leader. Even, the British flag, once an badge of cultural optimism, has returned as a polarising symbol.

According to Enninful, the solution has always been to champion culture in all its multifaceted forms. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a wide range of prominent faces from politics.

"Individuals with a platform should employ it," he says, explaining those publishing choices. "There is much discussion about immigration; I would not be in this position if Britain were not a lenient country, if it did not offer my family a refuge and an opportunity. That’s the Britain I believed in. I believe 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 implicit prejudice – I didn't even know what that was."

His formative years would define a pioneering career characterised by boldness and inclusivity. Enninful broke barriers as the first man, first black man, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His tenure featured historic front pages showcasing people of diverse backgrounds, curvy models, an octogenarian, and people from varied communities. Importantly, sales grew.

"Ignoring huge sections of the population, it’s more than that you’re excluding people – it’s a poor strategy," he emphasises.

Beyond the Magazine World

He has recently launched his creative company EE72 and its flagship publication, 72, his first major project since leaving his previous role. He says he wants to continue being a "innovator".

"I constantly interrogate the established norms. I was brought up in a place where Black professionals were the norm – the doctors, the attorneys, the president. Then we arrived in England, without funds, and I became the 'other'. I was painfully reserved. My teachers declared I’d have no future. Me and my brothers were subject to police stops the Sus laws … those experiences gave me a dual identity on the inside and the outside."

Defying the caricature of fashion editors as brash and highly strung, Enninful is calm and projects peace. His journey has included its share of challenges, including openly discussed battles with depression and substance use.

He has also undergone significant health challenges, having had multiple operations on his eyes, resulting in partial sight. "I experienced such a time of fear for two years, away from work, anxious I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I thought, if this ever is over, 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 figure in fashion."

Curating a Cultural Era

This determination to be defined narrowly has led him beyond the industry that made his name. He is now curating a significant 1990s exhibition at Tate Britain, featuring work by a group of pivotal artists and photographers from the era. The show, he explains, aims to capture the decade's creative cross-pollination – and highlight those who did not receive adequate attention at the time.

"Galleries sometimes neglected to promote the truly innovative creators because they lacked the expected background," he observes.

This project itself uses a unique business model, forgoing traditional advertising in favour of creative collaborations. "We ask, what can we create collaboratively? Is it an experience, a series? The magazine is one component of a larger creative platform."

Looking Forward Without Fear

Currently, Enninful stands as one of the world's most respected industry leaders. His story, he states, is a testament to the power of pursuing your passions.

How would the Edward of the 90s think of the Edward of today? He laughs heartily. "It would be a surprise, but he’d be impressed. Back then I was anti-establishment. I didn't think institutions like Tate were within my reach."

He adds. "Nothing is assumed. We were displaced, we fled our country. I came close to losing my vision. So fear is not a factor. People have doubted me my entire life. But I am unstoppable once I’ve made up my mind to do something."