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

An unexpected discovery while riding the tube in 1988 changed forever the path of a teenage Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the city's electric 1990s creative scene, evolving from model to stylist and, before turning twenty, becoming the fashion director of the publication i-D.

"It was the height of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I knew we’d be great friends. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I yearn for that spontaneity."

While Enninful may seem nostalgic, he is far from alone. Recently, a wistful romanticisation of the 1990s has grown intense. But over the last thirty years, Enninful perceives a noticeable regression. "In my view, we’re less accepting now than we were in the 90s," he observes. "It’s not even this country – it’s worldwide."

A Perceived Regression

This change is increasingly evident: the resurgence of far-right politics, the backlash against so-called "wokeness", and the return of traditional beauty standards. Where once there was the hope of the previous decade, today a different political personality stands as a potential leader. Even, the British flag, once an symbol of cultural optimism, has returned as a polarising symbol.

According to Enninful, the response has long been to promote culture in all its diversity. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a broad spectrum of cultural icons from literature.

"People with a voice should employ it," he asserts, discussing those editorial decisions. "There is much discussion about immigration; I would not be in this position if Britain hadn't been a lenient country, if it hadn't given my family a home and an education. That’s the Britain I always loved. I hope this moment will end."

The Younger Generation's Awareness

He takes comfort in the youth of today: "They’re much more aware than we were. They talk about implicit prejudice – I didn't even know what that was."

His formative years would shape a trailblazing career built on boldness and inclusivity. Enninful made history as the first man, first black man, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His tenure featured historic front pages showcasing Black models, curvy models, an octogenarian, and individuals from varied communities. Critically, sales increased.

"Ignoring vast segments of the population, it’s not just that you’re failing to represent – 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 first major project since departing his former post. He says he wants to continue being a "innovator".

"I’ve always questioned the established norms. I was born and raised in a place where Black professionals were the norm – the physicians, the lawyers, the leader. Then we arrived in England, without funds, and I found myself on the margins. I was very shy. My teachers predicted I’d never amount to anything. Me and my brothers were harassed under the Sus laws … all that gave me a sense of being on the inside and the outside."

Contrary to the stereotype of industry figures as loud and highly strung, Enninful is measured in tone and projects peace. His journey has included its share of adversity, including well-documented struggles with depression and addiction.

He has also faced significant health challenges, having had multiple operations on his eyes, now leaving him with limited vision. "I was in such a difficult period for two years, not working, fearing I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I thought, if this ever ends, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to restrict myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This refusal to be typecast has led him outside the realm that made his name. He is now organising a seminal 1990s exhibition at Tate Britain, featuring work by a group of influential artists and photographers from the era. The show, he notes, aims to evoke the decade's creative cross-pollination – and spotlight those who weren't given due recognition at the time.

"Galleries sometimes neglected to celebrate the truly innovative creators because they weren't of the right pedigree," he states.

This venture itself functions with a novel business model, forgoing traditional advertising in favour of partnership-based projects. "Our approach is, what can we do together? Is it an event, a podcast? The magazine is a piece within a greater ecosystem."

A Testament to Resilience

Currently, Enninful operates as one of the world's most powerful creative power brokers. His journey, he believes, is a testament to the power of following your instincts.

What would the younger Edward react to the Edward of today? He laughs heartily. "He would be astonished, but he’d be pleased. Back then I was sceptical of institutions. I never imagined institutions like Tate were a place for someone like me."

He reflects. "I never take anything for granted. We were displaced, we fled our country. I nearly lost my vision. So fear isn't an option. People have counted me out my whole career. But no obstacle is too great once I’ve decided to do something."