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

A chance encounter while riding the tube in 1988 altered the trajectory of a young Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the capital's vibrant 1990s artistic milieu, progressing from model to stylist and, by the age of 18, becoming the fashion director of the publication i-D.

"That time was the height of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I knew we’d be great friends. We all socialised across disciplines. Friday bled into Saturday into Sunday. I long for that spontaneity."

Although Enninful appears nostalgic, he is far from alone. Recently, a fond idealisation of the 1990s has grown intense. Yet since that time, Enninful perceives a noticeable regression. "I feel, we’re less accepting now than we were in the 90s," he observes. "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 pushback against progressive values, and the reassertion of narrow beauty standards. Replacing the optimism of the late 90s, today a different political figure looms as a possible leader. Even, the Union Jack, once an symbol of cultural optimism, has become contentious again.

According to Enninful, the solution 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, including a diverse array of cultural icons from music.

"Individuals with a platform should employ it," he comments, discussing those editorial decisions. "There is much discussion about immigration; I could not have had this life if Britain was not a welcoming country, if it did not offer my family a home and an opportunity. That’s the Britain I believed in. I hope this phase will fade."

A New Wave of Consciousness

He finds hope in the next generation: "Their awareness is greater than we were. They analyse systemic issues – I didn't even know what that was."

His formative years would define a trailblazing career characterised by boldness and representation. Enninful made history as the first male, first Black editor, first gay man, and first disabled Black gay man to take the helm at British Vogue. His leadership featured historic front pages showcasing models of colour, curvy models, older individuals, and people from varied communities. Importantly, sales rose.

"When you ignore huge sections of the population, it’s more than that you’re excluding people – it’s commercially unwise," he emphasises.

A New Chapter as a 'Disruptor'

He has recently launched his agency EE72 and its accompanying magazine, 72, his premier initiative since departing his former post. He says he wants to continue being a "change-maker".

"My nature is to challenge the conventional wisdom. I was brought up in a place where the majority was Black – the physicians, the attorneys, the leader. Then we came to England, with nothing, and I found myself on the margins. I was incredibly timid. My teachers predicted I’d have no future. Me and my brothers were subject to police stops the Sus laws … this duality gave me a unique perspective on the inside and the outside."

Defying the caricature of industry figures as loud and highly strung, Enninful is softly spoken and radiates serenity. His life has not been immune to hardship, including openly discussed periods of depression and substance use.

He has also undergone serious health issues, having had multiple operations on his eyes, leading to impaired eyesight. "I endured such a time of fear for two years, not working, terrified I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I thought, 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 determination to fit into a box has led him beyond the world that made his name. He is now putting together a seminal 1990s exhibition at Tate Britain, showcasing work by a group of defining artists and photographers from the era. The show, he notes, aims to capture the decade's artistic collaboration – and highlight those who did not receive adequate attention at the time.

"The establishment often failed to celebrate the right artists because they lacked the right pedigree," he observes.

The magazine 72 itself functions with a unique business model, rejecting traditional advertising in favour of creative collaborations. "Our approach is, what can we create collaboratively? Is it an experience, a series? The magazine is a piece within a broader vision."

An Unstoppable Drive

Currently, Enninful operates as one of the world's most powerful cultural influencers. His story, he states, is a testament to the power of defying expectations.

What would the Edward of the 90s make of the man he has become? He chuckles. "He’d be in shock, but he’d be impressed. At that time I was a rebel. I would not have believed institutions like Tate were necessarily for me."

He reflects. "Nothing is assumed. We were displaced, we left our homeland. I nearly lost my vision. So there is no room for fear. People have counted me out my whole career. But I am unstoppable once I’ve made up my mind to do something."