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

An unexpected discovery during a tube journey in 1988 transformed the course of a teenage Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the city's vibrant 1990s artistic milieu, moving from mannequin to stylist and, by the age of 18, becoming the style editor of the publication i-D.

"That era was the zenith of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I understood we’d be kindred spirits. We all socialised across disciplines. Friday bled into Saturday into Sunday. I yearn for that rawness."

While Enninful may seem sentimental, he is far from alone. Recently, a fond idealisation of the 1990s has grown intense. However in the intervening decades, Enninful perceives a profound shift. "I feel, we’re less tolerant now than we were in the 90s," he says. "The issue extends beyond this country – it’s everywhere."

A Perceived Regression

This shift is increasingly evident: the growth of populist movements, the pushback against social awareness, and the reinforcement of Eurocentric beauty standards. Replacing the optimism of the previous decade, now a more divisive political force appears as a possible leader. Even, the British flag, once an badge of Cool Britannia, has returned as a polarising symbol.

In Enninful's view, the antidote has consistently been to celebrate culture in all its multifaceted forms. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a broad spectrum of cultural icons from literature.

"People with a voice should wield it," he asserts, explaining those editorial decisions. "People often debate about immigration; I could not have had this life if Britain were not a welcoming country, if it refused my family a home and an education. That’s the Britain I always loved. I believe this phase will end."

Hope in the Next Generation

He draws solace in the next generation: "Their awareness is greater than we were. They analyse implicit prejudice – I didn't even know what that was."

Those early experiences would forge a trailblazing career marked by fearlessness and diversity. Enninful set a precedent as the first male, first Black editor, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His time featured landmark covers showcasing Black models, curvy models, older individuals, and people from varied communities. Significantly, sales increased.

"To overlook huge sections 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 agency EE72 and its accompanying magazine, 72, his first major project since departing his previous role. He expresses a desire to continue being a "innovator".

"I constantly interrogate the status quo. I was raised in a place where everybody was black – the physicians, the lawyers, the president. Then we arrived in England, with nothing, and I became the 'other'. I was incredibly timid. My teachers declared I’d have no future. Me and my brothers were harassed under the suspicion laws … all that gave me a dual identity on the inside and the outside."

Contrary to the stereotype of fashion editors as loud and temperamental, Enninful is calm and exudes calm. His path has not been immune to adversity, including openly discussed periods of mental health and addiction.

He has also faced serious health challenges, having undergone several surgeries on his eyes, leading to limited vision. "I endured such a difficult period for two years, not working, terrified I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I vowed, if this ever is over, 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 fit into a box has inspired him away from the realm that built his career. He is now curating a significant 1990s exhibition at Tate Britain, bringing together work by a host of defining artists and photographers from the era. The show, he notes, aims to evoke the decade's interdisciplinary energy – and give platform to those who did not receive adequate attention at the time.

"The establishment didn't always celebrate the most relevant talents because they lacked the right pedigree," he states.

This project itself functions with a unique strategy, rejecting traditional advertising in favour of partnership-based projects. "We ask, what can we do together? Is it an event, a series? The magazine is part of a greater ecosystem."

Looking Forward Without Fear

Today, Enninful stands as one of the world's most powerful cultural influencers. His story, he states, is a testament to the power of following your instincts.

What would the Enninful of that era make of the his current self? He laughs heartily. "He would be astonished, but he’d be impressed. At that time I was anti-establishment. 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 came close to losing my vision. So there is no room for fear. People have counted me out my entire life. But no obstacle is too great once I’ve decided to do something."