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

A serendipitous meeting while riding the tube in 1988 changed forever the course of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the city's buzzing 1990s artistic milieu, progressing from model to stylist and, by the age of 18, becoming the style editor 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 I met Naomi for a cover, and I knew we’d be kindred spirits. We all socialised across disciplines. Friday bled into Saturday into Sunday. I long for that spontaneity."

If Enninful sounds wistful, he is not the only one. Lately, a fond idealisation of the 1990s has reached fever pitch. But in the intervening decades, Enninful perceives a significant change. "I feel, we’re less tolerant now than we were in the 90s," he remarks. "It’s not even this country – it’s everywhere."

Shifting Attitudes

This regression is increasingly evident: the rise of far-right politics, the pushback against so-called "wokeness", and the return of traditional beauty standards. Where once there was the optimism of the Blair era, currently a different political force appears as a possible leader. Even, the Union Jack, once an symbol of cultural optimism, has returned as a polarising symbol.

For Enninful, the solution has consistently been to promote culture in all its variety. 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 wide range of prominent faces from literature.

"Those in a position of influence should use it," he says, discussing those editorial decisions. "There is much discussion about immigration; I wouldn't be here if Britain were not a welcoming country, if it hadn't given my family a home and an opportunity. That’s the Britain I cherished. I trust this moment will end."

The Younger Generation's Awareness

He finds hope in the youth of today: "They are far more conscious than we were. They discuss systemic issues – I had no concept what that was."

The beginnings of his career would define a pioneering career marked by fearlessness and inclusivity. Enninful broke barriers as the first man, first black man, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His tenure featured historic front pages showcasing models of colour, curvy models, an octogenarian, and individuals from varied communities. Significantly, sales rose.

"When you ignore vast segments of the population, it’s not just that you’re not being inclusive – it’s bad for business," he emphasises.

A New Chapter as a 'Disruptor'

He has since founded his new venture EE72 and its accompanying magazine, 72, his premier initiative since moving on from his former post. He says he wants to continue being a "innovator".

"My nature is to challenge the status quo. I was brought up in a place where Black professionals were the norm – the doctors, the attorneys, the leader. Then we came to England, with nothing, and I became the 'other'. I was painfully reserved. My teachers predicted I’d have no future. Me and my brothers were harassed under the suspicion laws … all that gave me a sense of being on the inside and the outside."

In contrast to the caricature of fashion editors as brash and highly strung, Enninful is measured in tone and radiates serenity. His life has included its share of hardship, including openly discussed battles with depression and addiction.

He has also undergone serious health challenges, having had multiple operations on his eyes, leading to partial sight. "I endured such a difficult period for two years, not working, terrified I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I vowed, if this ever is over, I’m just going to pursue all that I was so fearful to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This determination to be defined narrowly has inspired him beyond the realm that established him. He is now curating a seminal 1990s exhibition at Tate Britain, showcasing work by a group of pivotal artists and photographers from the era. The show, he notes, aims to explore the decade's artistic collaboration – and highlight those who weren't given a spotlight at the time.

"Galleries didn't always promote the truly innovative creators because they lacked the right pedigree," he observes.

This venture itself functions with a novel business model, eschewing traditional advertising in favour of integrated partnerships. "We ask, what can we do together? Is it an event, a podcast? The magazine is one component of a larger creative platform."

A Testament to Resilience

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

What would the Enninful of that era react to the his current self? He laughs heartily. "He’d be in shock, but he’d be proud. At that time I was anti-establishment. I would not have believed institutions like Tate were within my reach."

He adds. "Nothing is assumed. We fled, we left our homeland. I came close to losing my vision. So fear isn't an option. People have doubted me my whole career. But I am unstoppable once I’ve set my intention to do something."