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

A serendipitous meeting while riding the tube in 1988 transformed the course of a teenage Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the capital's vibrant 1990s cultural landscape, moving from mannequin to stylist and, while still a teenager, becoming the style editor of the publication i-D.

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

While Enninful may seem wistful, he is far from alone. Recently, a wistful romanticisation of the 1990s has grown intense. However since that time, Enninful believes a noticeable regression. "I feel, we’re less tolerant now than we were in the 90s," he observes. "The issue extends beyond this country – it’s a global phenomenon."

A Cultural Backslide

This regression is hard to ignore: the rise of nationalist groups, the reaction against progressive values, and the reassertion of narrow beauty standards. In place of the hope of the late 90s, currently a more divisive political personality appears as a potential leader. Even, the Union Jack, once an badge of Cool Britannia, has returned as a polarising symbol.

For Enninful, the antidote has consistently been to champion culture in all its diversity. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a wide range of influential figures from art.

"Those in a position of influence should employ it," he asserts, explaining those editorial decisions. "People often debate about immigration; I could not have had this life if Britain were not a lenient country, if it did not offer my family a refuge and an education. That’s the Britain I cherished. I believe this moment will end."

Hope in the Next Generation

He draws solace in the next generation: "Their awareness is greater than we were. They talk about implicit prejudice – I was not even aware what that was."

His formative years would shape a pioneering career characterised by fearlessness and representation. Enninful made history as the first man, first black man, first openly gay person, and first disabled Black gay man to lead at British Vogue. His time featured diverse covers showcasing Black models, plus-sized women, an octogenarian, and people from varied communities. Critically, sales increased.

"Ignoring vast segments of the population, it’s not just that you’re not being inclusive – it’s bad for business," he explains.

Launching a Creative Venture

He has established his new venture EE72 and its flagship publication, 72, his premier initiative since leaving his former post. He expresses a desire to continue being a "disruptor".

"I constantly interrogate the status quo. I was raised in a place where everybody was black – the physicians, the lawyers, the leader. Then we arrived in England, without funds, and I was a minority. I was incredibly timid. My teachers declared I’d have no future. Me and my brothers were harassed under the Sus laws … this duality gave me a sense of being on the inside and the outside."

Contrary to the caricature of industry figures as loud and highly strung, Enninful is softly spoken and projects peace. His journey has not been immune to hardship, including openly discussed struggles with mental health and substance use.

He has also faced significant health challenges, having had multiple operations on his eyes, now leaving him with limited vision. "I was in such a difficult period for two years, not working, fearing I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I thought, if this ever ends, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to confine myself to just being an editor or a fashion person."

A Foray into Curation

This refusal to be typecast has led him beyond the world that built his career. He is now putting together a significant 1990s exhibition at Tate Britain, featuring work by a roster of pivotal artists and photographers from the era. The show, he notes, aims to capture the decade's creative cross-pollination – and highlight those who lacked adequate attention at the time.

"The establishment sometimes neglected to shine a light on the truly innovative creators because they did not have the right pedigree," he observes.

The magazine 72 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 experience, a podcast? The magazine is part of a broader vision."

Looking Forward Without Fear

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

What would the younger Edward make of the man he has become? He chuckles. "It would be a surprise, but he’d be impressed. Back then I was a rebel. I didn't think institutions like Tate were within my reach."

He adds. "Nothing is assumed. We fled, we fled our country. I almost lost my vision. So fear isn't an option. People have underestimated me my whole career. But no obstacle is too great once I’ve made up my mind to do something."