Edward Enninful discusses Modern Britain: 'A Decline in Tolerance' Than in the 90s.

A serendipitous meeting while riding the tube in 1988 transformed the path of a teenage Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the city's vibrant 1990s artistic milieu, progressing from model to stylist and, by the age of 18, becoming the fashion director of the publication i-D.

"That time was the zenith of the Young British Artists – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I felt we’d be close. We all mixed across disciplines. Friday bled into Saturday into Sunday. I long for that spontaneity."

Although Enninful appears wistful, he is in good company. Recently, a wistful romanticisation of the 1990s has become pervasive. However since that time, Enninful feels a profound shift. "In my view, we’re less tolerant now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s worldwide."

Shifting Attitudes

This regression is increasingly evident: the rise of populist movements, the backlash against so-called "wokeness", and the return of traditional beauty standards. In place of the optimism of the previous decade, today a more divisive political personality looms as a potential leader. Furthermore, the British flag, once an badge of national pride, has become contentious again.

According to Enninful, the solution has consistently been to champion culture in all its multifaceted forms. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a broad spectrum of influential figures from music.

"People with a voice should wield it," he comments, explaining those editorial decisions. "There is much discussion about immigration; I could not have had this life if Britain was not a welcoming country, if it refused my family a refuge and an opportunity. That’s the Britain I cherished. I trust this phase will pass."

Hope in the Next Generation

He takes comfort in the next generation: "Their awareness is greater than we were. They discuss systemic issues – I had no concept what that was."

The beginnings of his career would shape a groundbreaking career built on boldness and representation. Enninful set a precedent as the first man, first Black editor, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His tenure featured landmark covers showcasing models of colour, curvy models, an octogenarian, and individuals from varied communities. Critically, sales increased.

"Ignoring vast segments of the population, it’s more than that you’re not being inclusive – it’s a poor strategy," he emphasises.

Launching a Creative Venture

He has established his agency EE72 and its accompanying magazine, 72, his key endeavour since leaving his former post. He expresses a desire to continue being a "innovator".

"My nature is to challenge the status quo. I was born and raised in a place where everybody was black – the doctors, the lawyers, the leader. Then we arrived in England, with nothing, and I found myself on the margins. I was incredibly timid. My teachers declared I’d never amount to anything. Me and my brothers were stopped by the police the suspicion laws … those experiences gave me a sense of being on the inside and the outside."

Defying the popular image of fashion editors as brash and highly strung, Enninful is measured in tone and exudes calm. His path has involved hardship, including openly discussed struggles with mental health and substance use.

He has also undergone serious health challenges, having undergone several surgeries on his eyes, resulting in limited vision. "I experienced such a time of fear for two years, not working, anxious I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I prayed, if this ever passes, I’m just going to do everything that I was so afraid to do. I’m not going to limit myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This refusal to be typecast has propelled him outside the industry that built his career. He is now organising a significant 1990s exhibition at Tate Britain, showcasing work by a group of influential artists and photographers from the era. The show, he notes, aims to capture the decade's interdisciplinary energy – and highlight those who weren't given adequate attention at the time.

"Galleries sometimes neglected to promote the most relevant talents because they lacked the traditional credentials," he states.

This project itself functions with a novel strategy, eschewing traditional advertising in favour of creative collaborations. "Our approach is, what can we do together? Is it an event, a podcast? The magazine is part of a greater ecosystem."

Looking Forward Without Fear

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

What would the younger Edward think of the Edward of today? He laughs heartily. "It would be a surprise, but he’d be proud. In those days I was sceptical of institutions. I didn't think institutions like Tate were a place for someone like me."

He pauses. "Nothing is assumed. We were displaced, we left our homeland. I came close to losing my vision. So there is no room for fear. People have underestimated me my whole career. But no obstacle is too great once I’ve made up my mind to do something."