Edward Enninful on Modern Britain: 'Britain Feels Less Tolerant Now' Than in the 90s.

A chance encounter while riding the tube in 1988 altered the path of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the London's buzzing 1990s creative scene, evolving from model to stylist and, while still a teenager, becoming the style editor of i-D magazine.

"It was the height of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I understood we’d be close. We all hung out across disciplines. Friday became Saturday into Sunday. I yearn for that rawness."

While Enninful may seem wistful, he is far from alone. In recent times, a fond idealisation of the 1990s has grown intense. Yet over the last thirty years, Enninful feels a significant change. "I feel, we’re less accepting now than we were in the 90s," he observes. "The issue extends beyond this country – it’s everywhere."

A Perceived Regression

This change is increasingly evident: the rise of populist movements, the backlash against progressive values, and the reassertion of narrow beauty standards. In place of the optimism of the previous decade, now a different political force appears as a potential leader. Even, the Union Jack, once an badge of cultural optimism, has become contentious again.

For Enninful, the solution has long been to champion culture in all its multifaceted forms. 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 broad spectrum of influential figures from music.

"Individuals with a platform should employ it," he comments, discussing those publishing choices. "People often debate about immigration; I could not have had this life if Britain was not a open country, if it did not offer my family a home and an education. That’s the Britain I believed in. I believe this moment will end."

The Younger Generation's Awareness

He finds hope in the youth of today: "Their awareness is greater than we were. They analyse implicit prejudice – I was not even aware what that was."

His formative years would define a pioneering career characterised by fearlessness and representation. Enninful made history as the first male, first black man, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His time featured landmark covers showcasing people of diverse backgrounds, curvy models, an octogenarian, and individuals from all walks of life. Critically, sales grew.

"When you ignore huge sections of the population, it’s more than that you’re failing to represent – it’s bad for business," he explains.

Beyond the Magazine World

He has since founded his creative company EE72 and its accompanying magazine, 72, his key endeavour since departing 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 the majority was Black – the doctors, the lawyers, the president. Then we came to England, without funds, and I found myself on the margins. I was painfully reserved. My teachers said I’d have no future. Me and my brothers were harassed under the suspicion laws … this duality gave me a sense of being between worlds."

In contrast to the stereotype of fashion editors as loud and highly strung, Enninful is softly spoken and projects peace. His journey has involved challenges, including well-documented periods of depression and addiction.

He has also faced serious health challenges, having had multiple operations on his eyes, resulting in impaired eyesight. "I experienced such a difficult period for two years, away from work, anxious I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I prayed, if this ever ends, I’m just going to pursue all that I was so afraid to do. I’m not going to limit myself to just being an editor or a figure in fashion."

A Foray into Curation

This drive to be typecast has propelled him outside the world that established him. He is now curating a major 1990s exhibition at Tate Britain, bringing together work by a group of defining artists and photographers from the era. The show, he explains, aims to evoke the decade's creative cross-pollination – and spotlight those who did not receive a spotlight at the time.

"Galleries didn't always shine a light on the most relevant talents because they lacked the right pedigree," he observes.

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

An Unstoppable Drive

Now, Enninful is regarded as one of the world's most powerful cultural influencers. His journey, he states, is a proof to the power of following your instincts.

How would the Edward of the 90s react to the Edward of today? He chuckles. "He’d be in shock, but he’d be pleased. Back then I was a rebel. I never imagined institutions like Tate were within my reach."

He reflects. "Gratitude is key. We were displaced, we fled our country. I almost lost my vision. So there is no room for fear. People have counted me out my entire life. But nothing can stop me once I’ve decided to do something."