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

A chance encounter during a tube journey in 1988 transformed the path of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the capital's buzzing 1990s creative scene, progressing from model to stylist and, before turning twenty, becoming the style editor of the publication i-D.

"It was the peak of the YBA movement – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I understood we’d be close. We all mixed across disciplines. Friday bled into Saturday into Sunday. I miss that rawness."

If Enninful sounds wistful, he is in good company. In recent times, a fond idealisation of the 1990s has reached fever pitch. However in the intervening decades, Enninful believes a profound shift. "In my view, we’re more divided now than we were in the 90s," he remarks. "This isn't just this country – it’s a global phenomenon."

A Perceived Regression

This shift is increasingly evident: the resurgence of nationalist groups, the backlash against so-called "wokeness", and the return of narrow beauty standards. Replacing the optimism of the previous decade, now a more divisive political personality appears as a possible leader. Furthermore, the British flag, once an badge of cultural optimism, has become contentious again.

In Enninful's view, the solution has consistently been to champion culture in all its diversity. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a wide range of influential figures from music.

"Those in a position of influence should employ it," he says, referring to those editorial decisions. "Everyone talks about immigration; I would not be in this position if Britain was not a lenient country, if it refused my family a refuge and an opportunity. That’s the Britain I cherished. I hope this moment will pass."

A New Wave of Consciousness

He finds hope in the next generation: "They’re much more aware than we were. They discuss systemic issues – I didn't even know what that was."

Those early experiences would define a groundbreaking career characterised by boldness and inclusivity. Enninful set a precedent as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His leadership featured diverse covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and people from all walks of life. Significantly, sales rose.

"When you ignore large portions of the population, it’s not just that you’re not being inclusive – it’s commercially unwise," he emphasises.

Beyond the Magazine World

He has established his new venture EE72 and its flagship publication, 72, his key endeavour since moving on from his previous role. He states his aim to continue being a "disruptor".

"My nature is to challenge the conventional wisdom. I was raised in a place where the majority was Black – the physicians, the attorneys, the leader. Then we arrived in England, with nothing, and I became the 'other'. I was very shy. My teachers said I’d have no future. Me and my brothers were subject to police stops the Sus laws … all that gave me a sense of being between worlds."

Defying the popular image of fashion editors as brash and highly strung, Enninful is softly spoken and projects peace. His life has included its share of hardship, including publicly shared struggles with mental health and substance use.

He has also endured serious health issues, having undergone several surgeries on his eyes, now leaving him with partial sight. "I endured such a time of fear 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 vowed, 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 limit myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This refusal to be typecast has led him outside the realm that established him. He is now putting together a significant 1990s exhibition at Tate Britain, bringing together work by a host of defining artists and photographers from the era. The show, he notes, aims to evoke the decade's artistic collaboration – and spotlight those who lacked due recognition at the time.

"Galleries often failed to promote the most relevant talents because they lacked the right pedigree," he observes.

This project itself operates on a novel strategy, rejecting traditional advertising in favour of creative collaborations. "Our approach is, what can we create collaboratively? Is it an event, a podcast? The magazine is one component of a larger creative platform."

An Unstoppable Drive

Currently, Enninful stands as one of the world's most respected industry leaders. His journey, he believes, is a demonstration to the power of pursuing your passions.

How would the Enninful of that era react to the Edward of today? He chuckles. "He’d be in shock, but he’d be proud. Back then I was anti-establishment. I never imagined institutions like Tate were within my reach."

He adds. "I never take anything for granted. We fled, we fled our country. I almost lost my vision. So fear isn't an option. People have doubted me my whole career. But no obstacle is too great once I’ve set my intention to do something."