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

An unexpected discovery on the London Underground in 1988 transformed the trajectory of a teenage Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the London's vibrant 1990s artistic milieu, moving from mannequin to stylist and, while still a teenager, becoming the style editor of the publication i-D.

"It was the height of the Britart scene – 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 hung out across disciplines. Friday rolled into Saturday into Sunday. I long for that rawness."

Although Enninful appears nostalgic, he is in good company. Recently, a longing look back of the 1990s has become pervasive. However over the last thirty years, Enninful feels a profound shift. "I believe, we’re less tolerant now than we were in the 90s," he remarks. "This isn't just this country – it’s everywhere."

A Cultural Backslide

This shift is increasingly evident: the growth of far-right politics, the pushback against progressive values, and the reinforcement of Eurocentric beauty standards. Replacing the hope of the Blair era, now a more divisive political figure stands as a potential leader. Furthermore, the British flag, once an emblem of cultural optimism, has become contentious again.

For Enninful, the antidote has long 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 celebration of modern Britain, featuring a wide range of prominent faces from literature.

"Individuals with a platform should use it," he asserts, referring to those editorial decisions. "People often debate about immigration; I wouldn't be here if Britain were not a lenient country, if it did not offer my family a home and an education. That’s the Britain I believed in. I believe this period 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 didn't even know what that was."

His formative years would shape a pioneering career marked by boldness and inclusivity. Enninful set a precedent as the first male, first black man, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His time featured landmark covers showcasing Black models, plus-sized women, an octogenarian, and individuals from varied communities. Importantly, sales grew.

"To overlook vast segments of the population, it’s not just that you’re excluding people – it’s bad for business," he states.

A New Chapter as a 'Disruptor'

He has since founded his creative company EE72 and its accompanying magazine, 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 raised in a place where everybody was black – the physicians, the attorneys, the president. Then we arrived in England, penniless, and I was a minority. I was very shy. My teachers said I’d never amount to anything. Me and my brothers were harassed under the Sus laws … this duality gave me a dual identity on the inside and the outside."

Contrary to the popular image of industry figures as loud and highly strung, Enninful is softly spoken and radiates serenity. His path has involved challenges, including publicly shared battles with mental health and substance use.

He has also faced significant health issues, having had multiple operations on his eyes, now leaving him with impaired eyesight. "I experienced such a dark place for two years, not working, terrified I was going to lose my sight. It’s comparable to PTSD; you just exist in a state of dread 24/7. I thought, if this ever is over, 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 be defined narrowly has led him away from the realm that established him. He is now curating a seminal 1990s exhibition at Tate Britain, featuring work by a host of pivotal artists and photographers from the era. The show, he says, aims to explore the decade's artistic collaboration – and highlight those who did not receive adequate attention at the time.

"Institutions didn't always celebrate the truly innovative creators because they did not have the traditional credentials," he states.

This venture itself operates on a novel strategy, eschewing traditional advertising in favour of integrated partnerships. "The question is, what can we achieve in partnership? Is it an experience, a podcast? The magazine is one component of a larger creative platform."

A Testament to Resilience

Today, Enninful operates as one of the world's most respected creative power brokers. His path, he feels, is a proof to the power of defying expectations.

How would the Edward of the 90s think of the his current self? He chuckles. "It would be a surprise, but he’d be impressed. Back then I was sceptical of institutions. I would not have believed institutions like Tate were necessarily for me."

He adds. "I never take anything for granted. We fled, we left our homeland. I came close to losing my vision. So fear isn't an option. People have doubted me my whole career. But I am unstoppable once I’ve set my intention to do something."