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

An unexpected discovery on the London Underground in 1988 transformed the path of a teenage Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the London's electric 1990s cultural landscape, moving from mannequin to stylist and, by the age of 18, becoming the style editor of the publication i-D.

"That era was the peak of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I understood we’d be close. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I yearn for that energy."

If Enninful sounds wistful, he is far from alone. Lately, a longing look back of the 1990s has grown intense. However over the last thirty years, Enninful believes a profound shift. "I believe, we’re less accepting now than we were in the 90s," he observes. "It’s not even this country – it’s everywhere."

A Cultural Backslide

This shift is hard to ignore: the resurgence of nationalist groups, the reaction against so-called "wokeness", and the return of narrow beauty standards. Where once there was the hope of the late 90s, currently a different political personality looms as a potential leader. Furthermore, the British flag, once an emblem of national pride, has sparked debate once more.

In Enninful's view, the response has consistently been to champion culture in all its multifaceted forms. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a wide range of influential figures from literature.

"Individuals with a platform should employ it," he asserts, referring to those publishing choices. "People often debate about immigration; I wouldn't be here if Britain were not a open country, if it hadn't given my family a home and an education. That’s the Britain I cherished. I trust this moment will end."

The Younger Generation's Awareness

He draws solace in the next generation: "They are far more conscious than we were. They talk about implicit prejudice – I was not even aware what that was."

His formative years would forge a trailblazing career marked by fearlessness and inclusivity. Enninful made history as the first man, first black man, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His leadership featured landmark covers showcasing models of colour, curvy models, an octogenarian, and individuals from all walks of life. Critically, sales rose.

"When you ignore huge sections of the population, it’s not just that you’re failing to represent – it’s a poor strategy," he explains.

A New Chapter as a 'Disruptor'

He has since founded his creative company EE72 and its accompanying magazine, 72, his premier initiative since leaving his previous role. He says he wants to continue being a "change-maker".

"My nature is to challenge the status quo. I was brought up in a place where Black professionals were the norm – the physicians, the lawyers, the leader. Then we came to England, penniless, and I was a minority. I was very shy. My teachers said I’d have no future. Me and my brothers were subject to police stops the suspicion laws … this duality gave me a sense of being on the inside and the outside."

Contrary to the caricature of industry figures as loud and highly strung, Enninful is softly spoken and exudes calm. His journey has involved hardship, including well-documented battles with depression and addiction.

He has also undergone serious health challenges, having had multiple operations on his eyes, leading to impaired eyesight. "I was in such a dark place for two years, away from work, fearing I was going to lose my sight. It’s like 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 afraid to do. I’m not going to confine myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This refusal to be defined narrowly has led him outside the realm that built his career. He is now putting together a major 1990s exhibition at Tate Britain, showcasing work by a group of pivotal artists and photographers from the era. The show, he explains, aims to capture the decade's creative cross-pollination – and highlight those who lacked a spotlight at the time.

"Galleries sometimes neglected to shine a light on the right artists because they weren't of the right pedigree," he states.

This project itself functions with a different approach, rejecting traditional advertising in favour of integrated partnerships. "We ask, what can we create collaboratively? Is it an experience, a podcast? The magazine is part of a larger creative platform."

Looking Forward Without Fear

Currently, Enninful stands as one of the world's most powerful creative power brokers. His story, he states, is a demonstration to the power of following your instincts.

How would the Enninful of that era react to the man he has become? He chuckles. "He’d be in shock, but he’d be impressed. In those days I was anti-establishment. I didn't think institutions like Tate were within my reach."

He pauses. "I never take anything for granted. We lost our home, we fled our country. I nearly lost my vision. So fear is not a factor. People have doubted me my entire life. But I am unstoppable once I’ve decided to do something."