Edward Enninful discusses Modern Britain: 'Britain Feels Less Tolerant Now' Than We Were Decades Ago.

An unexpected discovery while riding the tube in 1988 changed forever the path of a young Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the London's vibrant 1990s creative scene, moving from mannequin to stylist and, by the age of 18, becoming the fashion director of the publication i-D.

"It was the height of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I understood we’d be great friends. We all socialised across disciplines. Friday became Saturday into Sunday. I yearn for that energy."

If Enninful sounds nostalgic, he is far from alone. Lately, a fond idealisation of the 1990s has become pervasive. Yet in the intervening decades, Enninful believes a significant change. "In my view, we’re less tolerant now than we were in the 90s," he says. "This isn't just this country – it’s a global phenomenon."

Shifting Attitudes

This shift is increasingly evident: the rise of nationalist groups, the pushback against progressive values, and the reinforcement of traditional beauty standards. Where once there was the optimism of the Blair era, currently a different political figure stands as a possible leader. Even, the British flag, once an emblem of cultural optimism, has sparked debate once more.

In Enninful's view, the response has long been to champion culture in all its diversity. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a diverse array of prominent faces from music.

"People with a voice should use it," he asserts, referring to those publishing choices. "People often debate about immigration; I would not be in this position if Britain was not a lenient country, if it did not offer my family a refuge and an opportunity. That’s the Britain I cherished. I trust this moment will pass."

A New Wave of Consciousness

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

His formative years would forge a trailblazing career characterised by boldness and representation. Enninful set a precedent as the first male, first Black editor, first gay man, and first disabled Black gay man to take the helm at British Vogue. His leadership featured landmark covers showcasing Black models, plus-sized women, an octogenarian, and people from all walks of life. Significantly, sales increased.

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

A New Chapter as a 'Disruptor'

He has established his agency EE72 and its accompanying magazine, 72, his key endeavour since moving on from his former post. He states his aim to continue being a "disruptor".

"My nature is to challenge the conventional wisdom. I was brought up in a place where everybody was black – the doctors, the attorneys, the president. Then we arrived in England, without funds, and I found myself on the margins. I was incredibly timid. My teachers said I’d never amount to anything. Me and my brothers were harassed under the suspicion laws … those experiences gave me a dual identity between worlds."

Contrary to the stereotype of fashion editors as loud and highly strung, Enninful is measured in tone and radiates serenity. His path has involved hardship, including publicly shared periods of mental health and addiction.

He has also faced serious health challenges, having had multiple operations on his eyes, now leaving him with partial sight. "I endured such a difficult period for two years, not working, fearing I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I vowed, if this ever is over, I’m just going to pursue all that I was so scared to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This refusal to be defined narrowly has inspired him away from the realm that made his name. He is now curating a significant 1990s exhibition at Tate Britain, bringing together work by a roster of defining artists and photographers from the era. The show, he says, aims to explore the decade's artistic collaboration – and highlight those who lacked adequate attention at the time.

"Galleries didn't always shine a light on the right artists because they did not have the right pedigree," he states.

This project itself uses a different business model, forgoing traditional advertising in favour of integrated partnerships. "We ask, what can we achieve in partnership? Is it an event, a series? The magazine is a piece within a broader vision."

A Testament to Resilience

Today, Enninful stands as one of the world's most powerful creative power brokers. His story, he feels, is a proof to the power of defying expectations.

What would the Edward of the 90s think of the man he has become? He chuckles. "He’d be in shock, but he’d be impressed. Back then I was a rebel. I would not have believed institutions like Tate were within my reach."

He adds. "Gratitude is key. We fled, we left our homeland. I came close to losing my vision. So fear is not a factor. People have underestimated me my whole career. But nothing can stop me once I’ve decided to do something."