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

An unexpected discovery during a tube journey in 1988 altered the trajectory of a young Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the city's vibrant 1990s artistic milieu, progressing from model to stylist and, while still a teenager, becoming the fashion director of i-D magazine.

"That era was the peak of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I felt we’d be great friends. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I miss that rawness."

Although Enninful appears sentimental, he is in good company. Recently, a longing look back of the 1990s has reached fever pitch. Yet since that time, Enninful believes a significant change. "I feel, we’re less tolerant now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s worldwide."

Shifting Attitudes

This shift is difficult to overlook: the rise of populist movements, the pushback against progressive values, and the reinforcement of Eurocentric beauty standards. Replacing the optimism of the previous decade, currently a different political force looms as a possible leader. Even, the Union Jack, once an badge of cultural optimism, has sparked debate once more.

For Enninful, the solution has always been to promote culture in all its multifaceted forms. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a broad spectrum of cultural icons from music.

"People with a voice should use it," he says, discussing those publishing choices. "Everyone talks about immigration; I would not be in this position if Britain were not a welcoming country, if it refused my family a refuge and an education. That’s the Britain I believed in. I trust this period will end."

Hope in the Next Generation

He finds hope in the younger generation: "They are far more conscious than we were. They analyse unconscious bias – I had no concept what that was."

His formative years would shape a trailblazing career built on boldness and representation. Enninful set a precedent as the first male, first black man, first gay man, and first disabled Black gay man to lead at British Vogue. His leadership featured historic front pages showcasing models of colour, plus-sized women, an octogenarian, and individuals from varied communities. Significantly, sales increased.

"To overlook huge sections of the population, it’s more than that you’re excluding people – it’s a poor strategy," he emphasises.

Beyond the Magazine World

He has since founded his new venture EE72 and its flagship publication, 72, his key endeavour since moving on from his previous role. He says he wants to continue being a "disruptor".

"My nature is to challenge the established norms. I was brought up in a place where everybody was black – the doctors, the attorneys, the leader. Then we came to England, without funds, and I found myself on the margins. I was very shy. My teachers said I’d have no future. Me and my brothers were harassed under the suspicion laws … this duality gave me a sense of being between worlds."

Contrary to the stereotype of fashion editors as brash and highly strung, Enninful is measured in tone and radiates serenity. His life has not been immune to challenges, including openly discussed struggles with depression and substance use.

He has also faced significant health challenges, having undergone several surgeries on his eyes, leading to limited vision. "I endured such a dark place for two years, away from work, fearing I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I vowed, if this ever passes, 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."

The Tate Britain Exhibition

This drive to be defined narrowly has led him away from the industry that established him. He is now curating a seminal 1990s exhibition at Tate Britain, bringing together work by a group of pivotal artists and photographers from the era. The show, he explains, aims to evoke the decade's artistic collaboration – and give platform to those who did not receive adequate attention at the time.

"Institutions didn't always shine a light on the right artists because they did not have the expected background," he states.

The magazine 72 itself operates on a novel strategy, rejecting traditional advertising in favour of integrated partnerships. "We ask, what can we achieve in partnership? Is it an experience, a series? The magazine is one component of a larger creative platform."

An Unstoppable Drive

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

How would the Edward of the 90s make of the man he has become? He chuckles. "He’d be in shock, but he’d be pleased. Back then 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 fled, we left our homeland. I nearly lost my vision. So there is no room for fear. People have underestimated me my whole career. But no obstacle is too great once I’ve set my intention to do something."