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

An unexpected discovery on the London Underground in 1988 changed forever the course of a teenage Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was quickly drawn into the capital's vibrant 1990s artistic milieu, moving from model to stylist and, by the age of 18, becoming the fashion director of the publication i-D.

"That time was the peak 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 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 far from alone. In recent times, a fond idealisation of the 1990s has become pervasive. Yet in the intervening decades, Enninful perceives a significant change. "In my view, we’re less tolerant now than we were in the 90s," he observes. "This isn't just this country – it’s worldwide."

A Cultural Backslide

This regression is hard to ignore: the rise of nationalist groups, the backlash against social awareness, and the reinforcement of Eurocentric beauty standards. Where once there was the hope of the previous decade, now a different political figure looms as a possible leader. Furthermore, the British flag, once an symbol of cultural optimism, has become contentious again.

According to Enninful, the response has always been to celebrate culture in all its variety. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a diverse array of cultural icons from music.

"Individuals with a platform should employ it," he asserts, referring to those publishing choices. "There is much discussion about immigration; I would not be in this position if Britain hadn't been a open country, if it did not offer my family a home and an education. That’s the Britain I cherished. I hope this period will pass."

The Younger Generation's Awareness

He draws solace in the youth of today: "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 pioneering career built on fearlessness and representation. Enninful set a precedent as the first male, first black man, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His time featured historic front pages showcasing people of diverse backgrounds, plus-sized women, older individuals, and people from varied communities. Significantly, sales increased.

"To overlook vast segments of the population, it’s not just that you’re not being inclusive – it’s a poor strategy," he states.

A New Chapter as a 'Disruptor'

He has since founded his agency EE72 and its accompanying magazine, 72, his key endeavour since departing his former post. He says he wants to continue being a "innovator".

"I constantly interrogate the status quo. I was born and raised in a place where the majority was Black – the physicians, the lawyers, the president. Then we came to England, penniless, and I became the 'other'. I was very shy. My teachers declared I’d never amount to anything. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a unique perspective both an insider and outsider."

In contrast to the popular image of fashion editors as loud and temperamental, Enninful is measured in tone and exudes calm. His journey has included its share of hardship, including well-documented periods of mental health and addiction.

He has also undergone significant health issues, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I was in such a dark place for two years, not working, fearing I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I thought, if this ever passes, I’m just going to embrace every opportunity 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 inspired him away from the world that built his career. He is now organising a seminal 1990s exhibition at Tate Britain, featuring work by a roster of pivotal artists and photographers from the era. The show, he says, aims to explore the decade's creative cross-pollination – and spotlight those who lacked due recognition at the time.

"Galleries sometimes neglected to shine a light on the right artists because they did not have the expected background," he states.

This venture itself functions with a different business model, forgoing traditional advertising in favour of integrated partnerships. "We ask, what can we do together? Is it an event, a series? The magazine is a piece within a greater ecosystem."

An Unstoppable Drive

Today, Enninful operates as one of the world's most influential cultural influencers. His story, he believes, is a testament to the power of pursuing your passions.

How would the Enninful of that era react to the man he has become? He chuckles. "He would be astonished, but he’d be proud. 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 fled our country. I came close to losing my vision. So fear is not a factor. People have counted me out my entire life. But nothing can stop me once I’ve made up my mind to do something."