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

An unexpected discovery during a tube journey in 1988 transformed the trajectory of a young Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the capital's vibrant 1990s artistic milieu, moving from model to stylist and, before turning twenty, becoming the fashion director of the iconic i-D.

"That era was the height of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I knew we’d be close. We all mixed across disciplines. Friday became Saturday into Sunday. I miss that energy."

While Enninful may seem wistful, he is far from alone. Lately, a wistful romanticisation of the 1990s has grown intense. Yet over the last thirty years, Enninful feels a noticeable regression. "I feel, we’re less tolerant now than we were in the 90s," he remarks. "This isn't just this country – it’s worldwide."

A Perceived Regression

This change is difficult to overlook: the rise of far-right politics, the pushback against so-called "wokeness", and the reinforcement of Eurocentric beauty standards. Where once there was the hope of the previous decade, now a different political force looms as a possible leader. Furthermore, the British flag, once an badge of national pride, has become contentious again.

In Enninful's view, the response has consistently been to promote culture in all its diversity. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a diverse array of influential figures from politics.

"Those in a position of influence should employ it," he says, explaining those publishing choices. "People often debate about immigration; I would not be in this position if Britain hadn't been a welcoming country, if it hadn't given my family a home and an opportunity. That’s the Britain I always loved. I trust this phase will pass."

The Younger Generation's Awareness

He takes comfort in the next generation: "They’re much more aware than we were. They analyse unconscious bias – I was not even aware what that was."

Those early experiences would define a trailblazing career marked by boldness 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 leadership featured diverse covers showcasing Black models, curvy models, older individuals, and people from all walks of life. Importantly, sales increased.

"To overlook vast segments of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he explains.

Beyond the Magazine World

He has since founded his creative company EE72 and its accompanying magazine, 72, his premier initiative since moving on from his former post. He states his aim to continue being a "innovator".

"I constantly interrogate the conventional wisdom. I was raised in a place where the majority was Black – the doctors, the lawyers, the leader. Then we came to England, without funds, and I was a minority. I was painfully reserved. My teachers declared I’d have no future. Me and my brothers were harassed under the suspicion laws … this duality gave me a unique perspective between worlds."

In contrast to the caricature of industry figures as loud and temperamental, Enninful is softly spoken and projects peace. His life has included its share of hardship, including openly discussed struggles with mental health and substance use.

He has also faced serious health challenges, having undergone several surgeries on his eyes, leading to partial sight. "I endured such a time of fear for two years, not working, terrified 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 pursue all that I was so scared to do. I’m not going to confine myself to just being an editor or a figure in fashion."

A Foray into Curation

This drive to fit into a box has inspired him beyond the realm that made his name. He is now curating a seminal 1990s exhibition at Tate Britain, showcasing work by a roster of influential artists and photographers from the era. The show, he says, aims to capture the decade's creative cross-pollination – and give platform to those who weren't given due recognition at the time.

"The establishment didn't always promote the truly innovative creators because they weren't of the expected background," he observes.

This project itself uses a different business model, forgoing traditional advertising in favour of partnership-based projects. "Our approach is, what can we achieve in partnership? Is it an experience, a podcast? The magazine is a piece within a larger creative platform."

An Unstoppable Drive

Currently, Enninful is regarded as one of the world's most respected industry leaders. His story, he feels, is a testament to the power of following your instincts.

What would the Enninful of that era make of the Edward of today? He smiles. "He’d be in shock, but he’d be pleased. Back then I was a rebel. I didn't think institutions like Tate were necessarily for me."

He adds. "I never take anything for granted. We were displaced, we left our homeland. I came close to losing my vision. So fear isn't an option. People have underestimated me my whole career. But no obstacle is too great once I’ve decided to do something."