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 trajectory of a teenage Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the London's buzzing 1990s cultural landscape, progressing from model to stylist and, by the age of 18, becoming the fashion director of i-D magazine.

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

Although Enninful appears sentimental, he is far from alone. Recently, a fond idealisation of the 1990s has grown intense. However over the last thirty years, Enninful feels a profound shift. "I feel, we’re less tolerant now than we were in the 90s," he observes. "It’s not even this country – it’s everywhere."

Shifting Attitudes

This shift is difficult to overlook: the rise of nationalist groups, the pushback against so-called "wokeness", and the return of traditional beauty standards. In place of the hope of the previous decade, today a more divisive political personality stands as a possible leader. Furthermore, the Union Jack, once an emblem of Cool Britannia, has returned as a polarising symbol.

For Enninful, the solution has consistently been to promote 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, including a wide range of prominent faces from art.

"People with a voice should wield it," he says, explaining those publishing choices. "People often debate about immigration; I would not be in this position if Britain were not a welcoming country, if it refused my family a home and an opportunity. That’s the Britain I believed in. I trust this phase will fade."

A New Wave of Consciousness

He takes comfort in the youth of today: "They’re much more aware than we were. They discuss systemic issues – I was not even aware what that was."

Those early experiences would forge a pioneering career built on fearlessness and inclusivity. Enninful broke barriers as the first male, first Black editor, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His tenure featured historic front pages showcasing models of colour, plus-sized women, an octogenarian, and people from all walks of life. Importantly, sales rose.

"When you ignore huge sections of the population, it’s not just that you’re excluding people – it’s a poor strategy," he states.

Beyond the Magazine World

He has since founded his agency EE72 and its flagship publication, 72, his first major project since moving on from his previous role. He states his aim to continue being a "disruptor".

"I constantly interrogate the status quo. I was brought up in a place where the majority was Black – the physicians, the attorneys, the leader. Then we arrived in England, penniless, and I found myself on the margins. I was incredibly timid. My teachers predicted I’d never amount to anything. Me and my brothers were stopped by the police the suspicion laws … those experiences gave me a unique perspective on the inside and the outside."

Defying the stereotype of industry figures as loud and temperamental, Enninful is softly spoken and projects peace. His journey has not been immune to adversity, including well-documented struggles with mental health and substance use.

He has also faced serious health challenges, having undergone several surgeries on his eyes, now leaving him with limited vision. "I experienced such a dark place for two years, away from work, anxious I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 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 restrict myself to just being an editor or a figure in fashion."

A Foray into Curation

This refusal to fit into a box has inspired him outside the world that made his name. He is now putting together a major 1990s exhibition at Tate Britain, showcasing work by a host of influential artists and photographers from the era. The show, he explains, aims to explore the decade's interdisciplinary energy – and spotlight those who did not receive a spotlight at the time.

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

This venture itself operates on a novel strategy, rejecting traditional advertising in favour of partnership-based projects. "We ask, what can we achieve in partnership? Is it an event, a podcast? The magazine is a piece within a broader vision."

Looking Forward Without Fear

Today, Enninful operates as one of the world's most powerful cultural influencers. His journey, he feels, is a testament to the power of defying expectations.

How would the younger Edward think of the his current self? He smiles. "It would be a surprise, but he’d be proud. Back then I was anti-establishment. I didn't think institutions like Tate were within my reach."

He pauses. "Gratitude is key. We lost our home, we fled our country. I almost lost my vision. So there is no room for fear. People have doubted me my entire life. But no obstacle is too great once I’ve set my intention to do something."