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

A serendipitous meeting while riding the tube in 1988 transformed the path of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the city's buzzing 1990s artistic milieu, evolving from model to stylist and, by the age of 18, becoming the fashion director of the publication i-D.

"That time was the height of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I felt we’d be great friends. We all socialised across disciplines. Friday bled into Saturday into Sunday. I yearn for that rawness."

Although Enninful appears nostalgic, he is in good company. Lately, a longing look back of the 1990s has become pervasive. However since that time, Enninful feels a noticeable regression. "I believe, we’re more divided now than we were in the 90s," he observes. "It’s not even this country – it’s worldwide."

A Cultural Backslide

This shift is hard to ignore: the rise of populist movements, the backlash against progressive values, and the reinforcement of narrow beauty standards. Where once there was the hope of the Blair era, today a more divisive political force looms as a possible leader. Furthermore, the British flag, once an emblem of national pride, has returned as a polarising symbol.

For Enninful, the solution has always been to champion culture in all its multifaceted forms. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a broad spectrum of prominent faces from literature.

"People with a voice should use it," he says, explaining those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain were not a lenient country, if it refused my family a home and an education. That’s the Britain I cherished. I hope this period will fade."

The Younger Generation's Awareness

He takes comfort in the next generation: "They’re much more aware than we were. They talk about implicit prejudice – I was not even aware what that was."

The beginnings of his career would define a groundbreaking career characterised by fearlessness and representation. Enninful made history as the first man, first Black editor, first gay man, and first disabled Black gay man to lead at British Vogue. His time featured landmark covers showcasing Black models, plus-sized women, an octogenarian, and individuals from all walks of life. Critically, sales increased.

"To overlook huge sections of the population, it’s more than that you’re excluding people – it’s a poor strategy," he explains.

Launching a Creative Venture

He has established his creative company EE72 and its accompanying magazine, 72, his first major project since leaving his previous role. He says he wants to continue being a "innovator".

"I constantly interrogate the status quo. I was born and raised in a place where Black professionals were the norm – the doctors, the attorneys, the leader. Then we came to England, with nothing, and I found myself on the margins. I was incredibly timid. My teachers said I’d never amount to anything. Me and my brothers were harassed under the suspicion laws … all that gave me a unique perspective between worlds."

Defying the popular image of industry figures as brash and temperamental, Enninful is softly spoken and exudes calm. His life has included its share of adversity, including well-documented battles with mental health and addiction.

He has also endured significant health challenges, having had multiple operations on his eyes, now leaving him with limited vision. "I endured such a dark place for two years, away from work, anxious I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I thought, if this ever passes, 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 fashion person."

A Foray into Curation

This determination to fit into a box has led him outside the world that built his career. He is now curating a seminal 1990s exhibition at Tate Britain, featuring work by a group of pivotal artists and photographers from the era. The show, he explains, aims to capture the decade's artistic collaboration – and highlight those who weren't given adequate attention at the time.

"The establishment often failed to shine a light on the truly innovative creators because they did not have the traditional credentials," he comments.

The magazine 72 itself operates on a novel business model, forgoing traditional advertising in favour of integrated partnerships. "We ask, what can we achieve in partnership? Is it an experience, a series? The magazine is part of a greater ecosystem."

An Unstoppable Drive

Now, Enninful is regarded as one of the world's most respected cultural influencers. His story, he states, is a proof to the power of defying expectations.

How would the younger Edward think of the man he has become? He chuckles. "He would be astonished, but he’d be pleased. At that time I was a rebel. I never imagined institutions like Tate were within my reach."

He pauses. "Nothing is assumed. We were displaced, we left our homeland. I nearly lost my vision. So fear is not a factor. People have underestimated me my whole career. But I am unstoppable once I’ve set my intention to do something."