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

A chance encounter on the London Underground in 1988 transformed the course of a young Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the London's vibrant 1990s creative scene, evolving from model to stylist and, before turning twenty, becoming the style editor of i-D magazine.

"That era was the zenith of the Young British Artists – 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 socialised across disciplines. Friday bled into Saturday into Sunday. I miss that energy."

While Enninful may seem wistful, he is not the only one. Recently, a wistful romanticisation of the 1990s has become pervasive. But in the intervening decades, Enninful feels a significant change. "In my view, we’re more divided now than we were in the 90s," he remarks. "It’s not even this country – it’s worldwide."

A Perceived Regression

This regression is increasingly evident: the rise of populist movements, the reaction against social awareness, and the return of Eurocentric beauty standards. In place of the hope of the Blair era, today a different political personality stands as a potential leader. Furthermore, the British flag, once an emblem of cultural optimism, has returned as a polarising symbol.

For Enninful, the antidote has always been to celebrate culture in all its diversity. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a diverse array of prominent faces from art.

"People with a voice should use it," he says, explaining those publishing choices. "People often debate about immigration; I wouldn't be here if Britain hadn't been a welcoming country, if it refused my family a refuge and an opportunity. That’s the Britain I cherished. I believe this moment will fade."

Hope in the Next Generation

He finds hope in the youth of today: "They’re much more aware than we were. They analyse systemic issues – I didn't even know what that was."

The beginnings of his career would shape a pioneering career marked by fearlessness and inclusivity. Enninful made history as the first male, first black man, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His tenure featured diverse covers showcasing models of colour, plus-sized women, an octogenarian, and individuals from all walks of life. Critically, sales rose.

"When you ignore vast segments of the population, it’s more than that you’re not being inclusive – it’s commercially unwise," he emphasises.

A New Chapter as a 'Disruptor'

He has since founded his agency EE72 and its flagship publication, 72, his premier initiative since moving on from his former post. He says he wants to continue being a "disruptor".

"My nature is to challenge the conventional wisdom. I was brought up in a place where the majority was Black – the physicians, the lawyers, the president. Then we arrived in England, without funds, and I found myself on the margins. I was painfully reserved. My teachers declared I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … this duality gave me a sense of being between worlds."

In contrast to the popular image of industry figures as loud and highly strung, Enninful is measured in tone and projects peace. His path has included its share of hardship, including openly discussed periods of depression and addiction.

He has also faced serious health challenges, having had multiple operations on his eyes, leading to impaired eyesight. "I endured such a difficult period for two years, not working, terrified I was going to go blind. It’s like PTSD; you just live in fear 24/7. I vowed, if this ever is over, I’m just going to pursue all that I was so scared to do. I’m not going to limit myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This determination to fit into a box has propelled him beyond the world that made his name. He is now putting together a major 1990s exhibition at Tate Britain, featuring work by a group of influential artists and photographers from the era. The show, he says, aims to explore the decade's interdisciplinary energy – and give platform to those who weren't given a spotlight at the time.

"The establishment sometimes neglected to promote the right artists because they lacked the traditional credentials," he comments.

This venture itself operates on a unique strategy, eschewing traditional advertising in favour of partnership-based projects. "The question is, what can we do together? Is it an event, a series? The magazine is part of a broader vision."

An Unstoppable Drive

Currently, Enninful is regarded as one of the world's most respected industry leaders. His path, he believes, is a testament to the power of following your instincts.

How would the younger Edward make of the his current self? He laughs heartily. "He would be astonished, but he’d be pleased. In those days I was sceptical of institutions. I never imagined institutions like Tate were within my reach."

He adds. "Nothing is assumed. We fled, we left our homeland. I almost lost my vision. So fear is not a factor. People have underestimated me my entire life. But nothing can stop me once I’ve decided to do something."