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

An unexpected discovery during a tube journey in 1988 transformed the course of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the city's buzzing 1990s cultural landscape, progressing from mannequin to stylist and, by the age of 18, becoming the fashion director of the iconic i-D.

"That era was the height of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I felt we’d be close. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I yearn for that energy."

If Enninful sounds nostalgic, he is not the only one. Recently, a longing look back of the 1990s has become pervasive. But in the intervening decades, Enninful believes a profound shift. "In my view, we’re less tolerant now than we were in the 90s," he says. "This isn't just this country – it’s a global phenomenon."

A Perceived Regression

This shift is hard to ignore: the resurgence of far-right politics, the reaction against progressive values, and the return of traditional beauty standards. Where once there was the optimism of the previous decade, today a different political figure appears as a potential leader. Even, the Union Jack, once an symbol of cultural optimism, has become contentious again.

For Enninful, the antidote has long been to champion culture in all its diversity. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a diverse array of cultural icons from music.

"People with a voice should use it," he comments, referring to those editorial decisions. "Everyone talks about immigration; I could not have had this life if Britain was not a welcoming country, if it hadn't given my family a home and an opportunity. That’s the Britain I believed in. I trust this moment will pass."

The Younger Generation's Awareness

He finds hope in the next generation: "They’re much more aware than we were. They discuss implicit prejudice – I had no concept what that was."

The beginnings of his career would forge a trailblazing career characterised by fearlessness and representation. Enninful broke barriers as the first male, first Black editor, first gay man, and first disabled Black gay man to take the helm at British Vogue. His time featured landmark covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and people from varied communities. Significantly, sales grew.

"To overlook vast segments of the population, it’s not just that you’re excluding people – it’s a poor strategy," he states.

A New Chapter as a 'Disruptor'

He has since founded his agency EE72 and its accompanying magazine, 72, his key endeavour since moving on from his previous role. 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 doctors, the attorneys, the leader. Then we came to England, with nothing, and I was a minority. I was painfully reserved. My teachers predicted I’d have no future. Me and my brothers were stopped by the police the suspicion laws … all that gave me a unique perspective on the inside and the outside."

In contrast to the stereotype of industry figures as brash and highly strung, Enninful is calm and radiates serenity. His life has involved adversity, including publicly shared struggles with depression and substance use.

He has also faced serious health challenges, having undergone several surgeries on his eyes, resulting in partial sight. "I was in such a time of fear for two years, not working, fearing I was going to go blind. 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 restrict myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This determination to be defined narrowly has propelled him beyond the realm that built his career. He is now putting together a significant 1990s exhibition at Tate Britain, featuring work by a group of pivotal artists and photographers from the era. The show, he explains, aims to explore the decade's artistic collaboration – and spotlight those who lacked due recognition at the time.

"Institutions sometimes neglected to celebrate the most relevant talents because they weren't of the right pedigree," he comments.

The magazine 72 itself functions with a different strategy, forgoing traditional advertising in favour of integrated partnerships. "Our approach is, what can we achieve in partnership? Is it an experience, a podcast? The magazine is a piece within a larger creative platform."

A Testament to Resilience

Today, Enninful operates as one of the world's most respected industry leaders. His story, he believes, is a demonstration to the power of following your instincts.

What would the younger Edward make of the Edward of today? He smiles. "He’d be in shock, but he’d be proud. Back then I was a rebel. I never imagined institutions like Tate were a place for someone like me."

He adds. "I never take anything for granted. We were displaced, we left our homeland. I almost lost my vision. So fear isn't an option. People have underestimated me my entire life. But nothing can stop me once I’ve set my intention to do something."