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

An unexpected discovery on the London Underground in 1988 changed forever the trajectory of a young Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the city's electric 1990s artistic milieu, evolving from mannequin to stylist and, before turning twenty, becoming the style editor of the iconic i-D.

"It was the zenith 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 knew we’d be great friends. We all socialised across disciplines. Friday became Saturday into Sunday. I miss that rawness."

Although Enninful appears sentimental, he is not the only one. In recent times, a fond idealisation of the 1990s has become pervasive. But in the intervening decades, Enninful believes a significant change. "I feel, we’re less tolerant now than we were in the 90s," he remarks. "This isn't just this country – it’s everywhere."

Shifting Attitudes

This regression is hard to ignore: the growth of nationalist groups, the backlash against so-called "wokeness", and the reassertion of traditional beauty standards. Where once there was the hope of the previous decade, today a different political force appears as a potential leader. Furthermore, the British flag, once an badge of national pride, has sparked debate once more.

In Enninful's view, the response has consistently been to champion culture in all its diversity. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a diverse array of cultural icons from music.

"Those in a position of influence should employ it," he asserts, explaining those editorial decisions. "There is much discussion about immigration; I wouldn't be here if Britain hadn't been a open country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I cherished. I trust this moment will fade."

The Younger Generation's Awareness

He draws solace in the youth of today: "They are far more conscious than we were. They analyse systemic issues – I was not even aware what that was."

Those early experiences would define a pioneering career marked by fearlessness and diversity. Enninful broke barriers as the first male, first Black editor, first gay man, and first disabled gay man of colour to lead at British Vogue. His time featured diverse covers showcasing models of colour, plus-sized women, an octogenarian, and people from varied communities. Critically, sales grew.

"Ignoring vast segments of the population, it’s more than that you’re not being inclusive – it’s commercially unwise," he explains.

Beyond the Magazine World

He has established his new venture EE72 and its accompanying magazine, 72, his first major project since departing his former post. He expresses a desire to continue being a "change-maker".

"I’ve always questioned the established norms. I was born and raised in a place where the majority was Black – the doctors, the attorneys, the president. Then we arrived in England, with nothing, and I was a minority. I was painfully reserved. My teachers said I’d have no future. Me and my brothers were harassed under the suspicion laws … those experiences gave me a unique perspective between worlds."

Defying the stereotype of industry figures as loud and temperamental, Enninful is measured in tone and exudes calm. His life has included its share of challenges, including openly discussed periods of mental health and addiction.

He has also faced serious health issues, having had multiple operations on his eyes, resulting in partial sight. "I was in such a difficult period for two years, not working, terrified I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I prayed, if this ever ends, I’m just going to embrace every opportunity that I was so afraid 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 fit into a box has inspired him away from the industry that established him. He is now curating a seminal 1990s exhibition at Tate Britain, showcasing work by a roster of influential artists and photographers from the era. The show, he notes, aims to capture the decade's creative cross-pollination – and spotlight those who lacked due recognition at the time.

"The establishment didn't always celebrate the right artists because they lacked the right pedigree," he states.

This project itself operates on a unique approach, rejecting traditional advertising in favour of partnership-based projects. "We ask, what can we create collaboratively? Is it an event, a podcast? The magazine is one component of a greater ecosystem."

Looking Forward Without Fear

Today, Enninful stands as one of the world's most powerful cultural influencers. His journey, he states, is a demonstration to the power of defying expectations.

How would the younger Edward make of the man he has become? He smiles. "He would be astonished, but he’d be pleased. Back then I was sceptical of institutions. I would not have believed institutions like Tate were necessarily for me."

He reflects. "Nothing is assumed. We fled, we fled our country. I came close to losing my vision. So fear isn't an option. People have doubted me my entire life. But I am unstoppable once I’ve made up my mind to do something."