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

A serendipitous meeting during a tube journey in 1988 altered the trajectory of a young Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was quickly drawn into the London's buzzing 1990s cultural landscape, moving from model to stylist and, while still a teenager, becoming the fashion director of the publication i-D.

"It was the height of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I understood we’d be kindred spirits. We all hung out across disciplines. Friday became Saturday into Sunday. I yearn for that energy."

Although Enninful appears sentimental, he is not the only one. Recently, a wistful romanticisation of the 1990s has become pervasive. Yet over the last thirty years, 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."

Shifting Attitudes

This regression is hard to ignore: the resurgence of populist movements, the backlash against progressive values, and the return of traditional beauty standards. Where once there was the hope of the late 90s, today a more divisive political figure stands as a possible leader. Furthermore, the Union Jack, once an symbol of cultural optimism, has sparked debate once more.

In Enninful's view, the response has long been to promote culture in all its variety. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a diverse array of influential figures from art.

"Those in a position of influence should employ it," he comments, referring to those publishing choices. "People often debate about immigration; I wouldn't be here if Britain were not a welcoming country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I believed in. I hope this moment will pass."

The Younger Generation's Awareness

He draws solace in the younger generation: "Their awareness is greater than we were. They analyse implicit prejudice – I was not even aware what that was."

The beginnings of his career would define a pioneering career characterised by boldness and representation. Enninful set a precedent as the first man, first black man, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His tenure featured diverse covers showcasing models of colour, curvy models, older individuals, and people from varied communities. Significantly, sales increased.

"When you ignore vast segments of the population, it’s more than that you’re excluding people – it’s a poor strategy," he explains.

A New Chapter as a 'Disruptor'

He has since founded his new venture EE72 and its flagship publication, 72, his premier initiative since moving on from his previous role. He expresses a desire to continue being a "disruptor".

"I’ve always questioned the established norms. I was born and raised in a place where everybody was black – the doctors, the attorneys, the president. Then we arrived in England, penniless, and I was a minority. I was incredibly timid. My teachers said I’d achieve nothing. Me and my brothers were harassed under the Sus laws … this duality gave me a dual identity on the inside and the outside."

In contrast to the stereotype of industry figures as loud and temperamental, Enninful is calm and exudes calm. His journey has involved challenges, including openly discussed battles with mental health and addiction.

He has also undergone serious health issues, having undergone several surgeries on his eyes, leading to partial sight. "I was in such a dark place for two years, not working, fearing I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I vowed, if this ever passes, I’m just going to do everything that I was so scared to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This determination to fit into a box has led him beyond the industry that built his career. He is now putting together a major 1990s exhibition at Tate Britain, featuring work by a host of influential artists and photographers from the era. The show, he says, aims to explore the decade's interdisciplinary energy – and give platform to those who weren't given a spotlight at the time.

"The establishment often failed to celebrate the truly innovative creators because they did not have the traditional credentials," he states.

This venture itself functions with a different business model, forgoing traditional advertising in favour of creative collaborations. "Our approach is, what can we achieve in partnership? Is it an event, a series? The magazine is a piece within a greater ecosystem."

An Unstoppable Drive

Now, Enninful stands as one of the world's most respected cultural influencers. His path, he feels, is a demonstration to the power of following your instincts.

What would the younger Edward react to the man he has become? He chuckles. "He’d be in shock, but he’d be pleased. Back then I was sceptical of institutions. I would not have believed institutions like Tate were within my reach."

He adds. "Nothing is assumed. We lost our home, we left our homeland. I came close to losing my vision. So fear isn't an option. People have counted me out my entire life. But no obstacle is too great once I’ve made up my mind to do something."