Edward Enninful discusses Modern Britain: 'We Are Less Tolerant Now' Compared to the Nineties.

An unexpected discovery while riding the tube in 1988 transformed the course of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the capital's vibrant 1990s creative scene, progressing from model to stylist and, before turning twenty, becoming the style editor of the iconic i-D.

"It was the zenith of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I knew we’d be great friends. We all mixed across disciplines. Friday bled into Saturday into Sunday. I miss that energy."

Although Enninful appears wistful, he is far from alone. Recently, a fond idealisation of the 1990s has become pervasive. But since that time, Enninful perceives a noticeable regression. "I believe, we’re less tolerant 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 far-right politics, the backlash against social awareness, and the reassertion of Eurocentric beauty standards. Replacing the hope of the previous decade, today a more divisive political force stands as a potential leader. Furthermore, the British flag, once an badge of cultural optimism, has returned as a polarising symbol.

For Enninful, the response has consistently been to champion culture in all its variety. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a broad spectrum of cultural icons from music.

"Those in a position of influence should use it," he asserts, explaining those editorial decisions. "There is much discussion about immigration; I would not be in this position if Britain were not a lenient country, if it refused my family a refuge and an education. That’s the Britain I cherished. I trust this moment will fade."

Hope in the Next Generation

He draws solace in the youth of today: "They are far more conscious than we were. They talk about systemic issues – I didn't even know what that was."

Those early experiences would shape a trailblazing career marked by boldness and diversity. Enninful set a precedent as the first man, 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, older individuals, and people from varied communities. Importantly, sales rose.

"Ignoring huge sections of the population, it’s more than that you’re not being inclusive – it’s a poor strategy," he states.

A New Chapter as a 'Disruptor'

He has established his new venture EE72 and its accompanying magazine, 72, his first major project since departing his former post. He says he wants to continue being a "change-maker".

"I’ve always questioned the conventional wisdom. I was brought up in a place where the majority was Black – the doctors, the lawyers, the president. Then we arrived in England, with nothing, and I was a minority. I was incredibly timid. My teachers said I’d never amount to anything. Me and my brothers were harassed under the Sus laws … those experiences gave me a dual identity on the inside and the outside."

Defying the popular image of industry figures as loud and temperamental, Enninful is measured in tone and radiates serenity. His life has included its share of hardship, including openly discussed struggles with depression and substance use.

He has also faced significant health issues, having had multiple operations on his eyes, resulting in partial sight. "I was in such a time of fear for two years, not working, terrified I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I thought, if this ever passes, I’m just going to do everything that I was so fearful to do. I’m not going to confine myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This determination to be defined narrowly has inspired him away from the world that established him. He is now curating a seminal 1990s exhibition at Tate Britain, showcasing work by a host of pivotal artists and photographers from the era. The show, he notes, aims to evoke the decade's interdisciplinary energy – and highlight those who weren't given due recognition at the time.

"Institutions sometimes neglected to celebrate the most relevant talents because they did not have the traditional credentials," he states.

This project itself operates on a novel approach, eschewing traditional advertising in favour of creative collaborations. "Our approach is, what can we create collaboratively? Is it an event, a series? The magazine is a piece within a larger creative platform."

An Unstoppable Drive

Now, Enninful is regarded as one of the world's most powerful industry leaders. His story, he feels, is a testament to the power of following your instincts.

What would the Enninful of that era make of the man he has become? He chuckles. "He’d be in shock, but he’d be proud. In those days I was sceptical of institutions. I didn't think institutions like Tate were within my reach."

He reflects. "I never take anything for granted. We lost our home, we left our homeland. I almost lost my vision. So fear is not a factor. People have counted me out my whole career. But no obstacle is too great once I’ve set my intention to do something."