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

A chance encounter during a tube journey in 1988 changed forever the path of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was quickly drawn into the capital's buzzing 1990s creative scene, evolving from mannequin to stylist and, by the age of 18, becoming the style editor of the iconic i-D.

"It was the zenith of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I felt we’d be great friends. We all mixed across disciplines. Friday became Saturday into Sunday. I miss that spontaneity."

If Enninful sounds wistful, he is far from alone. In recent times, a wistful romanticisation of the 1990s has grown intense. Yet over the last thirty years, Enninful believes a significant change. "I believe, we’re less tolerant now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s everywhere."

A Cultural Backslide

This change is hard to ignore: the growth of populist movements, the pushback against so-called "wokeness", and the reassertion of traditional beauty standards. Replacing the optimism of the Blair era, now a different political figure appears as a potential leader. Even, the Union Jack, once an symbol of national pride, has returned as a polarising symbol.

According to Enninful, the antidote has long been to celebrate culture in all its diversity. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a wide range of cultural icons from art.

"People with a voice should use it," he says, discussing those editorial decisions. "There is much discussion about immigration; I would not be in this position if Britain were not a open country, if it did not offer my family a refuge and an opportunity. That’s the Britain I believed in. I hope this phase will end."

A New Wave of Consciousness

He draws solace in the younger generation: "They are far more conscious than we were. They discuss unconscious bias – I had no concept what that was."

Those early experiences would define a groundbreaking career marked by boldness and diversity. 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 time featured landmark covers showcasing people of diverse backgrounds, curvy models, an octogenarian, and people from varied communities. Importantly, sales grew.

"To overlook vast segments of the population, it’s more than that you’re excluding people – it’s commercially unwise," he states.

Launching a Creative Venture

He has recently launched his new venture EE72 and its accompanying magazine, 72, his first major project since leaving his former post. He expresses a desire to continue being a "innovator".

"I’ve always questioned the conventional wisdom. I was born and raised in a place where the majority was Black – the doctors, the attorneys, the leader. Then we arrived in England, with nothing, and I became the 'other'. I was very shy. My teachers predicted I’d achieve nothing. Me and my brothers were harassed under the Sus laws … those experiences gave me a unique perspective between worlds."

Contrary to the popular image of fashion editors as brash and highly strung, Enninful is softly spoken and radiates serenity. His path has included its share of challenges, including openly discussed struggles with mental health and addiction.

He has also faced significant health issues, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I experienced such a dark place for two years, away from work, anxious I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I prayed, if this ever is over, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

A Foray into Curation

This refusal to fit into a box has led him away from the industry that made his name. He is now curating a seminal 1990s exhibition at Tate Britain, showcasing work by a host of defining artists and photographers from the era. The show, he explains, aims to explore the decade's artistic collaboration – and highlight those who lacked adequate attention at the time.

"Galleries often failed to shine a light on the right artists because they did not have the traditional credentials," he comments.

This project itself uses a novel strategy, rejecting traditional advertising in favour of creative collaborations. "The question is, what can we achieve in partnership? Is it an experience, a podcast? The magazine is one component of a larger creative platform."

An Unstoppable Drive

Now, Enninful is regarded as one of the world's most influential cultural influencers. His path, he states, 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 proud. In those days I was sceptical of institutions. I would not have believed institutions like Tate were within my reach."

He adds. "Gratitude is key. We were displaced, we left our homeland. I almost lost my vision. So there is no room for fear. People have counted me out my whole career. But no obstacle is too great once I’ve decided to do something."