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

A serendipitous meeting while riding the tube in 1988 transformed the course of a young Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the London's electric 1990s artistic milieu, evolving from mannequin to stylist and, while still a teenager, becoming the style editor of i-D magazine.

"That time was the height of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I understood we’d be kindred spirits. We all socialised across disciplines. Friday bled into Saturday into Sunday. I long for that energy."

If Enninful sounds wistful, he is far from alone. In recent times, a fond idealisation of the 1990s has reached fever pitch. However since that time, Enninful feels 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 regression is hard to ignore: the growth of far-right politics, the backlash against social awareness, and the return of traditional beauty standards. Replacing the hope of the Blair era, now a more divisive political figure stands as a potential leader. Furthermore, the British flag, once an symbol of Cool Britannia, has become contentious again.

According to Enninful, the antidote has long been to promote culture in all its multifaceted forms. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a wide range of cultural icons from politics.

"Individuals with a platform should use it," he says, discussing those publishing choices. "There is much discussion 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 education. That’s the Britain I believed in. I trust this moment will end."

The Younger Generation's Awareness

He finds hope in the younger generation: "They are far more conscious than we were. They analyse systemic issues – I didn't even know what that was."

Those early experiences would define a pioneering career built on fearlessness and representation. Enninful broke barriers as the first man, first Black editor, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His time featured diverse covers showcasing people of diverse backgrounds, curvy models, 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 bad for business," he states.

Beyond the Magazine World

He has recently launched 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".

"My nature is to challenge the established norms. I was born and raised in a place where Black professionals were the norm – the doctors, the attorneys, the president. Then we arrived in England, penniless, 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 stopped by the police the Sus laws … this duality gave me a sense of being both an insider and outsider."

In contrast to the popular image of industry figures as brash and highly strung, Enninful is calm and projects peace. His path has involved hardship, including well-documented battles with mental health and substance use.

He has also endured serious health challenges, having undergone several surgeries on his eyes, resulting in limited vision. "I endured such a difficult period for two years, away from work, anxious I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I vowed, if this ever ends, I’m just going to pursue all that I was so scared to do. I’m not going to restrict myself to just being an editor or a fashion person."

Curating a Cultural Era

This drive to be typecast has led him beyond the world that established him. He is now curating a significant 1990s exhibition at Tate Britain, featuring work by a roster of pivotal artists and photographers from the era. The show, he says, aims to evoke the decade's interdisciplinary energy – and highlight those who lacked a spotlight at the time.

"Institutions often failed to celebrate the right artists because they weren't of the right pedigree," he observes.

This venture itself operates on a different business model, eschewing traditional advertising in favour of creative collaborations. "The question is, what can we do together? Is it an experience, a series? The magazine is one component of a larger creative platform."

A Testament to Resilience

Today, Enninful operates as one of the world's most powerful creative power brokers. His story, he feels, is a demonstration to the power of defying expectations.

How would the younger Edward react to the Edward of today? He smiles. "It would be a surprise, but he’d be proud. In those days I was sceptical of institutions. I never imagined institutions like Tate were within my reach."

He adds. "I never take anything for granted. We fled, we left our homeland. I nearly lost my vision. So fear isn't an option. People have underestimated me my whole career. But nothing can stop me once I’ve decided to do something."