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

A serendipitous meeting while riding the tube in 1988 altered the trajectory of a young Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the capital's vibrant 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 Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I understood we’d be kindred spirits. We all mixed across disciplines. Friday became Saturday into Sunday. I miss that rawness."

If Enninful sounds nostalgic, he is not the only one. Recently, a fond idealisation of the 1990s has become pervasive. But over the last thirty years, Enninful perceives a significant change. "In my view, we’re less tolerant now than we were in the 90s," he observes. "This isn't just this country – it’s worldwide."

A Perceived Regression

This shift is difficult to overlook: the resurgence of nationalist groups, the pushback against so-called "wokeness", and the reassertion of Eurocentric beauty standards. Where once there was the hope of the Blair era, now a different political force appears as a potential leader. Even, the British flag, once an badge of cultural optimism, has returned as a polarising symbol.

In Enninful's view, the solution has long been to promote 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, including a wide range of influential figures from art.

"Those in a position of influence should use it," he says, discussing those editorial decisions. "People often debate about immigration; I could not have had this life if Britain were not a lenient country, if it hadn't given my family a refuge and an education. That’s the Britain I cherished. I trust this moment will end."

Hope in the Next Generation

He finds hope in the youth of today: "They are far more conscious than we were. They discuss implicit prejudice – I had no concept what that was."

The beginnings of his career would forge a pioneering career marked by boldness 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 leadership featured landmark covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and people from varied communities. Critically, sales grew.

"Ignoring vast segments of the population, it’s more than that you’re not being inclusive – it’s commercially unwise," he explains.

A New Chapter as a 'Disruptor'

He has since founded 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 "innovator".

"I’ve always questioned the established norms. I was raised in a place where the majority was Black – the physicians, the attorneys, the leader. Then we came to England, penniless, and I became the 'other'. I was incredibly timid. My teachers declared I’d never amount to anything. Me and my brothers were stopped by the police the Sus laws … this duality gave me a sense of being both an insider and outsider."

In contrast to the stereotype of fashion editors as brash and highly strung, Enninful is measured in tone and projects peace. His journey has included its share of adversity, including publicly shared struggles with mental health and substance use.

He has also undergone significant health challenges, having had multiple operations on his eyes, leading to impaired eyesight. "I was in such a difficult period for two years, away from work, anxious I was going to lose my sight. It’s comparable to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever is over, 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 figure in fashion."

Curating a Cultural Era

This refusal to be typecast has inspired him outside the realm that established him. He is now putting together a seminal 1990s exhibition at Tate Britain, bringing together work by a host of defining artists and photographers from the era. The show, he notes, aims to explore the decade's creative cross-pollination – and give platform to those who weren't given adequate attention at the time.

"Institutions didn't always promote the truly innovative creators because they did not have the expected background," he states.

The magazine 72 itself uses a unique strategy, eschewing traditional advertising in favour of creative collaborations. "Our approach is, what can we do together? Is it an experience, a series? The magazine is a piece within a larger creative platform."

Looking Forward Without Fear

Currently, Enninful operates as one of the world's most respected creative power brokers. His path, he feels, is a testament to the power of defying expectations.

What would the Enninful of that era think of the Edward of today? He chuckles. "He’d be in shock, but he’d be impressed. In those days I was a rebel. I never imagined institutions like Tate were within my reach."

He pauses. "I never take anything for granted. We fled, we left our homeland. I almost lost my vision. So there is no room for fear. People have counted me out my entire life. But no obstacle is too great once I’ve set my intention to do something."