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

A chance encounter during a tube journey in 1988 changed forever the trajectory of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the London's electric 1990s artistic milieu, progressing from model to stylist and, by the age of 18, becoming the style editor of i-D magazine.

"It was the zenith 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 bled into Saturday into Sunday. I long for that energy."

While Enninful may seem sentimental, he is not the only one. In recent times, a longing look back of the 1990s has reached fever pitch. However since that time, Enninful perceives a profound shift. "I believe, we’re less tolerant now than we were in the 90s," he observes. "It’s not even this country – it’s a global phenomenon."

Shifting Attitudes

This change is increasingly evident: the rise of nationalist groups, the backlash against so-called "wokeness", and the reassertion of narrow beauty standards. In place of the hope of the Blair era, now a more divisive political figure looms as a potential leader. Even, the Union Jack, once an badge of cultural optimism, has returned as a polarising symbol.

In Enninful's view, the response has long been to promote culture in all its variety. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a wide range of cultural icons from literature.

"Those in a position of influence should wield it," he asserts, discussing those editorial decisions. "People often debate about immigration; I could not have had this life if Britain hadn't been a open country, if it refused my family a home and an education. That’s the Britain I cherished. I trust this period will fade."

A New Wave of Consciousness

He finds hope in the youth of today: "They are far more conscious than we were. They discuss implicit prejudice – I didn't even know what that was."

His formative years would forge a trailblazing career marked by fearlessness and representation. Enninful set a precedent as the first male, first Black editor, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His tenure featured historic front pages showcasing people of diverse backgrounds, curvy models, an octogenarian, and individuals from all walks of life. Critically, sales increased.

"When you ignore huge sections of the population, it’s more than that you’re excluding people – it’s a poor strategy," he emphasises.

A New Chapter as a 'Disruptor'

He has since founded his creative company EE72 and its flagship publication, 72, his first major project since moving on from his previous role. He says he wants to continue being a "innovator".

"I’ve always questioned the conventional wisdom. I was brought up in a place where the majority was Black – the physicians, the attorneys, the president. Then we came to England, without funds, and I found myself on the margins. I was painfully reserved. My teachers predicted I’d never amount to anything. Me and my brothers were harassed under the Sus laws … those experiences gave me a sense of being between worlds."

Contrary to the stereotype of fashion editors as brash and temperamental, Enninful is calm and projects peace. His path has involved challenges, including well-documented battles with mental health and substance use.

He has also faced serious health issues, having had multiple operations on his eyes, leading to partial sight. "I endured such a dark place for two years, not working, fearing I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I vowed, 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 fashion person."

A Foray into Curation

This determination to be typecast has led him beyond the realm that built his career. He is now putting together a significant 1990s exhibition at Tate Britain, bringing together work by a group of pivotal artists and photographers from the era. The show, he says, aims to evoke the decade's interdisciplinary energy – and spotlight those who did not receive a spotlight at the time.

"Galleries often failed to celebrate the right artists because they lacked the traditional credentials," he observes.

This venture itself operates on a novel approach, rejecting traditional advertising in favour of partnership-based projects. "We ask, what can we do together? Is it an event, a series? The magazine is one component of a greater ecosystem."

An Unstoppable Drive

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

How would the Enninful of that era think of the Edward of today? He smiles. "It would be a surprise, but he’d be impressed. At that time I was sceptical of institutions. I didn't think institutions like Tate were within my reach."

He pauses. "Nothing is assumed. We were displaced, we left our homeland. I almost lost my vision. So fear isn't an option. People have counted me out my entire life. But nothing can stop me once I’ve decided to do something."