Edward Enninful discusses Modern Britain: 'We Are Less Tolerant Now' Compared to the Nineties.

A serendipitous meeting while riding the tube in 1988 changed forever the course of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the city's electric 1990s cultural landscape, moving from mannequin to stylist and, while still a teenager, becoming the fashion director of the publication i-D.

"That time was the zenith of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I felt we’d be close. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I miss that energy."

Although Enninful appears nostalgic, he is in good company. Lately, a wistful romanticisation of the 1990s has reached fever pitch. But in the intervening decades, Enninful feels a profound shift. "In my view, we’re less tolerant now than we were in the 90s," he says. "It’s not even this country – it’s worldwide."

Shifting Attitudes

This shift is difficult to overlook: the resurgence of far-right politics, the backlash against progressive values, and the return of Eurocentric beauty standards. Where once there was the optimism of the previous decade, now a different political figure stands as a possible leader. Even, the British flag, once an emblem of Cool Britannia, has returned as a polarising symbol.

For Enninful, the response has long been to champion 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 snapshot of modern Britain, including a wide range of cultural icons from literature.

"Those in a position of influence should wield it," he comments, discussing those editorial decisions. "Everyone talks about immigration; I would not be in this position if Britain were not a open country, if it refused my family a refuge and an opportunity. That’s the Britain I believed in. I trust this period will pass."

The Younger Generation's Awareness

He draws solace in the next generation: "They are far more conscious than we were. They analyse implicit prejudice – I didn't even know what that was."

Those early experiences would forge a pioneering career marked by boldness and inclusivity. Enninful broke barriers 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 models of colour, plus-sized women, older individuals, and individuals from all walks of life. Importantly, sales increased.

"Ignoring vast segments of the population, it’s more than that you’re failing to represent – it’s bad for business," he explains.

Launching a Creative Venture

He has established his creative company 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 status quo. I was brought up in a place where the majority was Black – the doctors, the attorneys, the president. Then we arrived in England, with nothing, and I found myself on the margins. I was very shy. My teachers said I’d never amount to anything. Me and my brothers were harassed under the suspicion laws … this duality gave me a sense of being between worlds."

Contrary to the popular image of industry figures as loud and highly strung, Enninful is softly spoken and projects peace. His life has included its share of adversity, including openly discussed battles with depression and addiction.

He has also endured significant health challenges, having undergone several surgeries on his eyes, now leaving him with partial sight. "I was in such a dark place for two years, away from work, fearing I was going to go blind. 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 do everything that I was so fearful to do. I’m not going to limit myself to just being an editor or a fashion person."

Curating a Cultural Era

This drive to be typecast has propelled him outside the realm that established him. He is now curating a seminal 1990s exhibition at Tate Britain, featuring work by a group of defining artists and photographers from the era. The show, he says, aims to explore the decade's creative cross-pollination – and give platform to those who did not receive adequate attention at the time.

"Galleries sometimes neglected to shine a light on the right artists because they lacked the expected background," he comments.

This venture itself uses a novel approach, rejecting traditional advertising in favour of partnership-based projects. "The question is, what can we create collaboratively? Is it an event, a series? The magazine is one component of a broader vision."

An Unstoppable Drive

Today, Enninful operates as one of the world's most influential industry leaders. His path, he states, is a proof to the power of following your instincts.

How would the younger Edward react to the Edward of today? He chuckles. "He’d be in shock, but he’d be pleased. Back then I was sceptical of institutions. I never imagined institutions like Tate were necessarily for me."

He pauses. "Gratitude is key. We were displaced, we fled our country. I almost lost my vision. So fear isn't an option. People have doubted me my entire life. But I am unstoppable once I’ve decided to do something."