Edward Enninful on Modern Britain: 'A Decline in Tolerance' Than in the 90s.

A chance encounter during a tube journey in 1988 changed forever the course of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the London's vibrant 1990s creative scene, moving from mannequin to stylist and, before turning twenty, becoming the fashion director of the iconic i-D.

"That time was the peak of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I understood we’d be kindred spirits. We all hung out across disciplines. Friday became Saturday into Sunday. I yearn for that energy."

While Enninful may seem nostalgic, he is not the only one. Lately, a wistful romanticisation of the 1990s has grown intense. But in the intervening decades, Enninful feels a significant change. "In my view, we’re less accepting now than we were in the 90s," he remarks. "It’s not even this country – it’s a global phenomenon."

Shifting Attitudes

This regression is increasingly evident: the resurgence of populist movements, the backlash against progressive values, and the reassertion of traditional beauty standards. In place of the hope of the previous decade, now a more divisive political force looms as a potential leader. Furthermore, the British flag, once an badge of national pride, has returned as a polarising symbol.

For Enninful, the solution has always been to promote culture in all its variety. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a diverse array of influential figures from politics.

"People with a voice should wield it," he says, referring to those publishing choices. "There is much discussion about immigration; I would not be in this position if Britain was not a open country, if it refused my family a refuge and an education. That’s the Britain I believed in. I trust this period will pass."

The Younger Generation's Awareness

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

Those early experiences would define a groundbreaking career marked by boldness and diversity. Enninful made history as the first male, first Black editor, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His tenure featured diverse covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and people from all walks of life. Significantly, sales rose.

"When you ignore vast segments of the population, it’s not just that you’re failing to represent – it’s a poor strategy," he states.

Launching a Creative Venture

He has established his new venture EE72 and its flagship publication, 72, his key endeavour since moving on from his previous role. He states his aim to continue being a "change-maker".

"I’ve always questioned the established norms. I was brought up in a place where Black professionals were the norm – the doctors, the lawyers, the leader. Then we arrived in England, without funds, and I found myself on the margins. I was painfully reserved. My teachers predicted I’d never amount to anything. Me and my brothers were stopped by the police the Sus laws … those experiences gave me a sense of being both an insider and outsider."

Defying the caricature of fashion editors as brash and temperamental, Enninful is calm and radiates serenity. His journey has included its share of hardship, including publicly shared periods of mental health and substance use.

He has also faced serious health challenges, having had multiple operations on his eyes, now leaving him with partial sight. "I experienced such a difficult period for two years, not working, fearing I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 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 restrict myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This determination to be defined narrowly has propelled him away from the industry that built his career. He is now curating a major 1990s exhibition at Tate Britain, bringing together work by a roster of pivotal artists and photographers from the era. The show, he says, aims to evoke the decade's creative cross-pollination – and highlight those who weren't given adequate attention at the time.

"The establishment sometimes neglected to shine a light on the right artists because they lacked the right pedigree," he observes.

The magazine 72 itself uses a different approach, eschewing traditional advertising in favour of partnership-based projects. "The question is, what can we create collaboratively? Is it an event, a podcast? The magazine is part of a greater ecosystem."

A Testament to Resilience

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

What would the Edward of the 90s react to the man he has become? He laughs heartily. "He would be astonished, but he’d be pleased. In those days I was anti-establishment. I didn't think institutions like Tate were within my reach."

He pauses. "Gratitude is key. We lost our home, we fled our country. I almost lost my vision. So fear is not a factor. People have counted me out my entire life. But I am unstoppable once I’ve decided to do something."