Edward Enninful on Modern Britain: 'Britain Feels Less Tolerant Now' Compared to the Nineties.

A chance encounter while riding the tube in 1988 changed forever the course of a young Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the city's buzzing 1990s artistic milieu, moving from model to stylist and, before turning twenty, becoming the fashion director of the iconic i-D.

"It was the peak of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I felt we’d be close. We all hung out across disciplines. Friday became Saturday into Sunday. I long for that rawness."

If Enninful sounds nostalgic, he is not the only one. In recent times, a fond idealisation of the 1990s has grown intense. However over the last thirty years, Enninful perceives a significant change. "I believe, we’re less accepting now than we were in the 90s," he observes. "It’s not even this country – it’s everywhere."

Shifting Attitudes

This shift is increasingly evident: the rise of far-right politics, the backlash against social awareness, and the reinforcement of Eurocentric beauty standards. Where once there was the optimism of the Blair era, currently a different political force stands as a potential leader. Furthermore, the British flag, once an emblem of national pride, has returned as a polarising symbol.

For Enninful, the solution has long been to promote culture in all its diversity. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a wide range of influential figures from music.

"People with a voice should employ it," he asserts, discussing those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain was not a open country, if it hadn't given my family a home and an education. That’s the Britain I believed in. I trust this moment will end."

Hope in the Next Generation

He takes comfort in the next generation: "Their awareness is greater than we were. They talk about implicit prejudice – I didn't even know what that was."

The beginnings of his career would forge a trailblazing career characterised by boldness and diversity. 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 time featured landmark covers showcasing models of colour, curvy models, an octogenarian, and people from all walks of life. Critically, sales rose.

"When you ignore huge sections of the population, it’s more than that you’re excluding people – it’s a poor strategy," he explains.

Beyond the Magazine World

He has recently launched his agency EE72 and its flagship publication, 72, his premier initiative since leaving his former post. He states his aim to continue being a "innovator".

"I constantly interrogate the status quo. I was born and raised in a place where the majority was Black – the doctors, the lawyers, the leader. Then we arrived in England, with nothing, and I became the 'other'. I was incredibly timid. My teachers said I’d achieve nothing. Me and my brothers were harassed under the suspicion laws … those experiences gave me a sense of being both an insider and outsider."

In contrast to the popular image of industry figures as loud and temperamental, Enninful is softly spoken and projects peace. His life has not been immune to challenges, including publicly shared periods of depression and substance use.

He has also endured serious health challenges, having had multiple operations on his eyes, now leaving him with impaired eyesight. "I was in such a dark place for two years, away from work, fearing I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I thought, if this ever is over, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to restrict myself to just being an editor or a fashion person."

A Foray into Curation

This refusal to be defined narrowly has propelled him outside the industry that built his career. He is now putting together a significant 1990s exhibition at Tate Britain, showcasing work by a group of pivotal artists and photographers from the era. The show, he explains, aims to capture the decade's artistic collaboration – and highlight those who weren't given adequate attention at the time.

"The establishment often failed to shine a light on the most relevant talents because they weren't of the right pedigree," he observes.

This project itself operates on a novel business model, rejecting traditional advertising in favour of partnership-based projects. "We ask, what can we create collaboratively? Is it an event, a podcast? The magazine is a piece within a greater ecosystem."

Looking Forward Without Fear

Now, Enninful stands as one of the world's most influential creative power brokers. His path, he feels, is a demonstration to the power of defying expectations.

What would the Edward of the 90s react to the his current self? He smiles. "He would be astonished, but he’d be pleased. In those days I was sceptical of institutions. I didn't think institutions like Tate were necessarily for me."

He adds. "Gratitude is key. We lost our home, we fled our country. I nearly 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 made up my mind to do something."