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

A chance encounter on the London Underground in 1988 altered the course of a teenage Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was quickly drawn into the capital's vibrant 1990s cultural landscape, progressing from model to stylist and, by the age of 18, becoming the fashion director of i-D magazine.

"That time was the peak of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I knew we’d be kindred spirits. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I long for that spontaneity."

While Enninful may seem sentimental, he is not the only one. Recently, a longing look back of the 1990s has grown intense. Yet since that time, Enninful believes a noticeable regression. "In my view, we’re less tolerant now than we were in the 90s," he observes. "The issue extends beyond this country – it’s a global phenomenon."

A Perceived Regression

This change is hard to ignore: the resurgence of nationalist groups, the backlash against so-called "wokeness", and the reassertion of Eurocentric beauty standards. In place of the optimism of the Blair era, now a different political force looms as a potential leader. Furthermore, the Union Jack, once an badge of Cool Britannia, has returned as a polarising symbol.

According to Enninful, the solution has long been to celebrate culture in all its variety. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a broad spectrum of prominent faces from art.

"Individuals with a platform should use it," he comments, discussing those editorial decisions. "People often debate about immigration; I would not be in this position if Britain was not a open country, if it did not offer my family a home and an education. That’s the Britain I always loved. I trust this phase will end."

The Younger Generation's Awareness

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

His formative years would shape a groundbreaking career marked by boldness and inclusivity. Enninful made history 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, curvy models, an octogenarian, and people from all walks of life. Importantly, sales grew.

"When you ignore large portions of the population, it’s more than that you’re not being inclusive – it’s bad for business," he explains.

A New Chapter as a 'Disruptor'

He has recently launched his new venture EE72 and its flagship publication, 72, his first major project since leaving his previous role. He states his aim to continue being a "disruptor".

"I constantly interrogate the established norms. I was born and raised in a place where the majority was Black – the physicians, the attorneys, the president. Then we came to England, penniless, and I found myself on the margins. I was very shy. My teachers predicted I’d have no future. Me and my brothers were subject to police stops the suspicion laws … all that gave me a sense of being both an insider and outsider."

Contrary to the stereotype of industry figures as loud and temperamental, Enninful is calm and radiates serenity. His life has not been immune to challenges, including openly discussed battles with mental health and substance use.

He has also faced serious health challenges, having undergone several surgeries on his eyes, now leaving him with partial sight. "I experienced such a time of fear for two years, not working, terrified I was going to go blind. 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 limit myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This refusal to fit into a box has led him outside the world that built his career. He is now curating a significant 1990s exhibition at Tate Britain, featuring work by a roster of defining artists and photographers from the era. The show, he notes, aims to capture the decade's creative cross-pollination – and highlight those who did not receive a spotlight at the time.

"The establishment sometimes neglected to shine a light on the right artists because they lacked the right pedigree," he states.

This project itself functions with a different strategy, rejecting traditional advertising in favour of creative collaborations. "The question is, what can we do together? Is it an event, a series? The magazine is part of a larger creative platform."

A Testament to Resilience

Today, Enninful is regarded as one of the world's most influential creative power brokers. His story, he states, is a testament to the power of pursuing your passions.

What would the younger Edward react to the Edward of today? He smiles. "He’d be in shock, but he’d be pleased. At that time I was sceptical of institutions. I didn't think institutions like Tate were necessarily for me."

He reflects. "I never take anything for granted. We fled, we fled our country. I almost lost my vision. So there is no room for fear. People have underestimated me my entire life. But no obstacle is too great once I’ve decided to do something."