Edward Enninful discusses Modern Britain: 'We Are Less Tolerant Now' Than in the 90s.

A serendipitous meeting on the London Underground in 1988 transformed the path of a young Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the city's electric 1990s artistic milieu, moving from mannequin to stylist and, by the age of 18, becoming the style editor of i-D magazine.

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

Although Enninful appears nostalgic, he is in good company. Recently, a fond idealisation of the 1990s has reached fever pitch. But since that time, Enninful feels a profound shift. "I believe, we’re less tolerant now than we were in the 90s," he says. "This isn't just this country – it’s a global phenomenon."

Shifting Attitudes

This shift is difficult to overlook: the growth of populist movements, the reaction against progressive values, and the return of traditional beauty standards. Where once there was the hope of the previous decade, currently a different political figure looms as a potential leader. Even, the British flag, once an emblem of national pride, has returned as a polarising symbol.

In Enninful's view, the solution has long been to celebrate culture in all its multifaceted forms. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a wide range of influential figures from politics.

"People with a voice should employ it," he comments, referring to those editorial decisions. "Everyone talks about immigration; I would not be in this position if Britain hadn't been a welcoming country, if it refused my family a home and an opportunity. That’s the Britain I believed in. I trust this period will fade."

A New Wave of Consciousness

He draws solace in the next generation: "Their awareness is greater than we were. They talk about implicit prejudice – I had no concept what that was."

His formative years would define a pioneering career marked by fearlessness and diversity. Enninful set a precedent as the first male, first Black editor, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His leadership featured historic front pages showcasing Black models, plus-sized women, older individuals, and individuals from all walks of life. Importantly, sales increased.

"Ignoring vast segments of the population, it’s not just that you’re failing to represent – it’s a poor strategy," he states.

Beyond the Magazine World

He has recently launched his creative company EE72 and its accompanying magazine, 72, his key endeavour since moving on from his previous role. He says he wants to continue being a "disruptor".

"My nature is to challenge the status quo. I was raised in a place where Black professionals were the norm – the doctors, the attorneys, the leader. Then we came to England, without funds, and I found myself on the margins. I was incredibly timid. My teachers predicted I’d achieve nothing. Me and my brothers were harassed under the Sus laws … all that gave me a unique perspective on the inside and the outside."

Contrary to the stereotype of fashion editors as brash and temperamental, Enninful is calm and projects peace. His path has not been immune to hardship, including well-documented struggles with mental health and substance use.

He has also undergone serious health challenges, having undergone several surgeries on his eyes, leading to impaired eyesight. "I endured such a dark place for two years, away from work, terrified I was going to go blind. 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 fearful to do. I’m not going to confine myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This determination to be typecast has propelled him outside the world that made his name. He is now putting together a significant 1990s exhibition at Tate Britain, showcasing work by a host of pivotal artists and photographers from the era. The show, he explains, aims to explore the decade's artistic collaboration – and spotlight those who weren't given due recognition at the time.

"The establishment sometimes neglected to promote the right artists because they weren't of the traditional credentials," he observes.

The magazine 72 itself uses a unique strategy, rejecting traditional advertising in favour of partnership-based projects. "Our approach is, what can we do together? Is it an experience, a series? The magazine is one component of a broader vision."

An Unstoppable Drive

Today, Enninful stands as one of the world's most respected cultural influencers. His path, he states, is a testament to the power of following your instincts.

What would the younger Edward think of the man he has become? He laughs heartily. "He would be astonished, but he’d be impressed. At that time I was a rebel. I never imagined institutions like Tate were a place for someone like me."

He reflects. "Gratitude is key. We were displaced, we left our homeland. I nearly lost my vision. So fear is not a factor. People have counted me out my whole career. But I am unstoppable once I’ve set my intention to do something."