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

A chance encounter during a tube journey in 1988 altered the path of a teenage Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the city's electric 1990s creative scene, progressing from mannequin to stylist and, before turning twenty, becoming the fashion director of the iconic i-D.

"That time was the peak 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 understood we’d be great friends. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I yearn for that rawness."

While Enninful may seem nostalgic, he is far from alone. Recently, a fond idealisation of the 1990s has become pervasive. But over the last thirty years, Enninful believes a profound shift. "I feel, we’re less tolerant now than we were in the 90s," he remarks. "It’s not even this country – it’s worldwide."

A Cultural Backslide

This shift is difficult to overlook: the resurgence of populist movements, the pushback against so-called "wokeness", and the reinforcement of traditional beauty standards. In place of the hope of the Blair era, now a different political figure looms as a possible leader. Even, the Union Jack, once an badge of Cool Britannia, has sparked debate once more.

According to Enninful, the antidote has long 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 snapshot of modern Britain, including a diverse array of prominent faces from music.

"Individuals with a platform should employ it," he says, referring to those publishing choices. "There is much discussion about immigration; I wouldn't be here if Britain was not a welcoming country, if it did not offer my family a refuge and an opportunity. That’s the Britain I always loved. I believe this period will fade."

A New Wave of Consciousness

He finds hope in the next generation: "They’re much more aware than we were. They discuss implicit prejudice – I was not even aware what that was."

Those early experiences would define a pioneering career marked by fearlessness and representation. Enninful made history as the first male, first black man, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His time featured landmark covers showcasing Black models, curvy models, older individuals, and people from all walks of life. Critically, sales increased.

"Ignoring huge sections of the population, it’s not just that you’re failing to represent – it’s bad for business," he emphasises.

Beyond the Magazine World

He has since founded his new venture EE72 and its flagship publication, 72, his key endeavour since moving on from his former post. He expresses a desire to continue being a "innovator".

"I’ve always questioned the established norms. I was brought up in a place where the majority was Black – the doctors, the attorneys, the leader. Then we arrived in England, penniless, and I was a minority. I was incredibly timid. My teachers predicted I’d achieve nothing. Me and my brothers were harassed under the Sus laws … all that gave me a unique perspective both an insider and outsider."

Defying the popular image of industry figures as brash and highly strung, Enninful is measured in tone and exudes calm. His journey has included its share of challenges, including publicly shared battles with mental health and substance use.

He has also faced significant health challenges, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I endured such a dark place for two years, away from work, terrified I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I thought, 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."

The Tate Britain Exhibition

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 pivotal artists and photographers from the era. The show, he says, aims to evoke the decade's artistic collaboration – and highlight those who did not receive due recognition at the time.

"The establishment often failed to celebrate the most relevant talents because they weren't of the expected background," he observes.

This project itself operates on a unique business model, forgoing traditional advertising in favour of creative collaborations. "Our approach is, what can we create collaboratively? Is it an experience, a series? The magazine is one component of a broader vision."

An Unstoppable Drive

Now, Enninful stands as one of the world's most respected cultural influencers. His path, he believes, is a testament to the power of defying expectations.

What would the Edward of the 90s react to the his current self? He laughs heartily. "He’d be in shock, but he’d be pleased. At that time I was anti-establishment. I didn't think institutions like Tate were a place for someone like me."

He reflects. "I never take anything for granted. We fled, we left our homeland. I nearly lost my vision. So there is no room for fear. People have underestimated me my entire life. But I am unstoppable once I’ve decided to do something."