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

A serendipitous meeting while riding the tube in 1988 transformed the trajectory of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the capital's electric 1990s artistic milieu, moving from mannequin to stylist and, before turning twenty, becoming the style editor of the iconic i-D.

"It was the height of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I understood we’d be kindred spirits. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I yearn for that energy."

While Enninful may seem wistful, he is far from alone. In recent times, a wistful romanticisation of the 1990s has grown intense. But over the last thirty years, Enninful feels a noticeable regression. "I feel, we’re less tolerant now than we were in the 90s," he says. "It’s not even this country – it’s a global phenomenon."

A Cultural Backslide

This shift is hard to ignore: the rise of far-right politics, the backlash against progressive values, and the reassertion of traditional beauty standards. Where once there was the optimism of the Blair era, currently a more divisive political force appears as a possible leader. Even, the British flag, once an badge of national pride, has become contentious again.

In Enninful's view, the solution has always 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 portrait of modern Britain, including a broad spectrum of prominent faces from music.

"People with a voice should employ it," he asserts, explaining those publishing choices. "People often debate about immigration; I could not have had this life if Britain was not a open country, if it hadn't given my family a refuge and an education. That’s the Britain I cherished. I trust this moment will pass."

The Younger Generation's Awareness

He finds hope in the younger generation: "Their awareness is greater than we were. They discuss implicit prejudice – I had no concept what that was."

His formative years would define a trailblazing career marked by fearlessness and inclusivity. Enninful made history as the first man, first black man, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His time featured landmark covers showcasing Black models, curvy models, older individuals, and individuals from all walks of life. Significantly, sales increased.

"Ignoring large portions of the population, it’s more than that you’re excluding people – it’s a poor strategy," he emphasises.

Launching a Creative Venture

He has since founded his creative company EE72 and its accompanying magazine, 72, his premier initiative since leaving his former post. He states his aim to continue being a "change-maker".

"My nature is to challenge the conventional wisdom. I was born and raised in a place where everybody was black – the physicians, the attorneys, the president. Then we came to England, without funds, and I found myself on the margins. I was incredibly timid. My teachers predicted I’d never amount to anything. 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 fashion editors as loud and highly strung, Enninful is measured in tone and projects peace. His path has not been immune to adversity, including well-documented periods of mental health and substance use.

He has also endured serious health challenges, having had multiple operations on his eyes, resulting in limited vision. "I endured such a time of fear for two years, not working, anxious I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I thought, if this ever passes, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to limit myself to just being an editor or a fashion person."

Curating a Cultural Era

This drive to be typecast has propelled him beyond the industry that built his career. He is now curating a seminal 1990s exhibition at Tate Britain, showcasing work by a host of influential artists and photographers from the era. The show, he explains, aims to capture the decade's artistic collaboration – and spotlight those who lacked due recognition at the time.

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

This project itself functions with a novel business model, eschewing traditional advertising in favour of integrated partnerships. "Our approach is, what can we achieve in partnership? Is it an experience, a series? The magazine is one component of a broader vision."

Looking Forward Without Fear

Today, Enninful operates as one of the world's most respected creative power brokers. His story, he states, is a demonstration to the power of pursuing your passions.

What would the Edward of the 90s make of the man he has become? He chuckles. "It would be a surprise, but he’d be impressed. At that time I was a rebel. I didn't think institutions like Tate were within my reach."

He reflects. "I never take anything for granted. We fled, we fled our country. I almost lost my vision. So fear isn't an option. People have doubted me my entire life. But nothing can stop me once I’ve decided to do something."