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

An unexpected discovery while riding the tube in 1988 transformed the path of a young Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the London's buzzing 1990s creative scene, evolving from mannequin to stylist and, while still a teenager, becoming the fashion director of i-D magazine.

"It was the peak of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I knew we’d be close. We all socialised across disciplines. Friday bled into Saturday into Sunday. I long for that rawness."

While Enninful may seem sentimental, he is far from alone. Recently, a wistful romanticisation of the 1990s has reached fever pitch. But in the intervening decades, Enninful feels a noticeable regression. "I believe, we’re more divided now than we were in the 90s," he observes. "It’s not even this country – it’s everywhere."

Shifting Attitudes

This regression is increasingly evident: the rise of far-right politics, the reaction against so-called "wokeness", and the return of traditional beauty standards. In place of the optimism of the Blair era, today a different political figure stands as a potential leader. Furthermore, the British flag, once an emblem of cultural optimism, has sparked debate once more.

For Enninful, the antidote has consistently been to promote culture in all its multifaceted forms. 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 wide range of prominent faces from politics.

"Individuals with a platform should employ it," he says, referring to those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain was not a welcoming country, if it hadn't given my family a home and an opportunity. That’s the Britain I always loved. I believe this phase will pass."

A New Wave of Consciousness

He draws solace in the youth of today: "They’re much more aware than we were. They discuss implicit prejudice – I had no concept what that was."

His formative years would shape a groundbreaking career marked by fearlessness and diversity. Enninful broke barriers as the first man, first black man, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His tenure featured historic front pages showcasing people of diverse backgrounds, curvy models, an octogenarian, and people from varied communities. Critically, sales increased.

"When you ignore large portions of the population, it’s not just that you’re not being inclusive – it’s a poor strategy," he emphasises.

A New Chapter as a 'Disruptor'

He has established his creative company EE72 and its flagship publication, 72, his premier initiative since moving on from his former post. He expresses a desire to continue being a "innovator".

"My nature is to challenge the conventional wisdom. I was brought up in a place where the majority was Black – the doctors, the lawyers, the leader. Then we came to England, with nothing, and I found myself on the margins. I was very shy. My teachers declared I’d achieve nothing. Me and my brothers were harassed under the Sus laws … all that gave me a dual identity on the inside and the outside."

Defying the popular image of industry figures as loud and temperamental, Enninful is calm and radiates serenity. His journey has involved hardship, including openly discussed periods of depression and substance use.

He has also faced significant health challenges, having undergone several surgeries on his eyes, now leaving him with limited vision. "I experienced such a dark place for two years, not working, fearing I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever passes, I’m just going to embrace every opportunity 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 drive to fit into a box has led him beyond the industry that established him. He is now organising a major 1990s exhibition at Tate Britain, showcasing work by a group of defining artists and photographers from the era. The show, he explains, aims to evoke the decade's interdisciplinary energy – and give platform to those who lacked adequate attention at the time.

"Institutions often failed to shine a light on the most relevant talents because they did not have the traditional credentials," he observes.

This project itself operates on a unique business model, eschewing traditional advertising in favour of partnership-based projects. "We ask, what can we create collaboratively? Is it an event, a podcast? The magazine is one component of a larger creative platform."

Looking Forward Without Fear

Today, Enninful is regarded as one of the world's most respected industry leaders. His path, he feels, is a demonstration to the power of defying expectations.

How would the Enninful of that era make of the man he has become? He chuckles. "It would be a surprise, but he’d be pleased. In those days I was a rebel. I didn't think institutions like Tate were a place for someone like me."

He pauses. "Nothing is assumed. We were displaced, we fled our country. I came close to losing my vision. So there is no room for fear. People have underestimated me my entire life. But I am unstoppable once I’ve set my intention to do something."