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

A chance encounter while riding the tube in 1988 changed forever the trajectory of a young Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the city's vibrant 1990s creative scene, evolving from model to stylist and, while still a teenager, becoming the style editor of the iconic i-D.

"That era was the peak of the Young British Artists – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I understood we’d be kindred spirits. We all mixed across disciplines. Friday became Saturday into Sunday. I long for that energy."

While Enninful may seem wistful, he is far from alone. In recent times, a fond idealisation of the 1990s has reached fever pitch. Yet since that time, Enninful believes a noticeable regression. "I feel, we’re less tolerant now than we were in the 90s," he says. "The issue extends beyond this country – it’s everywhere."

Shifting Attitudes

This shift is increasingly evident: the resurgence of far-right politics, the pushback against so-called "wokeness", and the reinforcement of Eurocentric beauty standards. Where once there was the hope of the late 90s, today a more divisive political force stands as a potential leader. Furthermore, the Union Jack, once an badge of national pride, has returned as a polarising symbol.

In Enninful's view, the solution has always been to champion culture in all its variety. 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 literature.

"People with a voice should use it," he asserts, 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 hadn't given my family a home and an opportunity. That’s the Britain I always loved. I trust this period will pass."

A New Wave of Consciousness

He draws solace in the younger generation: "Their awareness is greater than we were. They talk about systemic issues – I had no concept what that was."

The beginnings of his career would forge a trailblazing career built on boldness and representation. Enninful broke barriers as the first male, first black man, 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, older individuals, and people from varied communities. Importantly, sales increased.

"To overlook huge sections of the population, it’s not just that you’re failing to represent – it’s a poor strategy," he emphasises.

Launching a Creative Venture

He has since founded his new venture EE72 and its flagship publication, 72, his first major project since moving on from his former post. He states his aim to continue being a "innovator".

"My nature is to challenge the conventional wisdom. I was born and raised in a place where the majority was Black – the doctors, the attorneys, the president. Then we came to England, penniless, and I was a minority. I was incredibly timid. My teachers said I’d have no future. Me and my brothers were stopped by the police the suspicion laws … all that gave me a dual identity between worlds."

Defying the stereotype of fashion editors as loud and temperamental, Enninful is calm and projects peace. His journey has not been immune to challenges, including openly discussed periods of mental health and addiction.

He has also faced serious health issues, having undergone several surgeries on his eyes, leading to limited vision. "I was in such a difficult period for two years, away from work, terrified I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I prayed, if this ever ends, I’m just going to do everything that I was so scared to do. I’m not going to confine myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This determination to be typecast has inspired him outside the realm that established him. He is now curating a major 1990s exhibition at Tate Britain, featuring work by a group of defining artists and photographers from the era. The show, he says, aims to explore the decade's interdisciplinary energy – and spotlight those who lacked due recognition at the time.

"The establishment sometimes neglected to shine a light on the truly innovative creators because they lacked the expected background," he states.

This project itself operates on a different strategy, forgoing traditional advertising in favour of integrated partnerships. "Our approach is, what can we do together? Is it an experience, a series? The magazine is part of a larger creative platform."

An Unstoppable Drive

Today, Enninful stands as one of the world's most respected cultural influencers. His story, he states, is a demonstration to the power of defying expectations.

What would the Edward of the 90s react to the man he has become? He chuckles. "He would be astonished, but he’d be impressed. Back then I was sceptical of institutions. I would not have believed institutions like Tate were a place for someone like me."

He reflects. "Gratitude is key. We lost our home, we left our homeland. I almost lost my vision. So fear isn't an option. People have doubted me my entire life. But I am unstoppable once I’ve decided to do something."