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

A chance encounter on the London Underground in 1988 changed forever the trajectory of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the capital's buzzing 1990s artistic milieu, evolving from model to stylist and, by the age of 18, becoming the style editor of the iconic i-D.

"That time was the zenith of the Young British Artists – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I felt we’d be kindred spirits. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I miss that energy."

If Enninful sounds nostalgic, he is in good company. Lately, a wistful romanticisation of the 1990s has grown intense. However in the intervening decades, Enninful feels a profound shift. "I believe, we’re less tolerant now than we were in the 90s," he observes. "The issue extends beyond this country – it’s worldwide."

A Cultural Backslide

This regression is increasingly evident: the resurgence of nationalist groups, the backlash against so-called "wokeness", and the return of Eurocentric beauty standards. Where once there was the optimism of the late 90s, now a more divisive political force stands as a potential leader. Furthermore, the British flag, once an badge of national pride, has sparked debate once more.

According to Enninful, the response has long been to celebrate 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 celebration of modern Britain, featuring a diverse array of prominent faces from literature.

"Individuals with a platform should wield it," he comments, discussing those editorial decisions. "People often debate about immigration; I could not have had this life if Britain were not a welcoming country, if it did not offer my family a refuge and an opportunity. That’s the Britain I believed in. I hope this period will end."

A New Wave of Consciousness

He draws solace in the younger generation: "They are far more conscious than we were. They discuss implicit prejudice – I was not even aware what that was."

His formative years would forge a groundbreaking career built on boldness and diversity. Enninful set a precedent as the first male, first Black editor, first gay man, and first disabled gay man of colour to lead at British Vogue. His leadership featured historic front pages showcasing Black models, curvy models, older individuals, and individuals from varied communities. Importantly, sales rose.

"Ignoring large portions of the population, it’s not just that you’re not being inclusive – it’s commercially unwise," he states.

A New Chapter as a 'Disruptor'

He has recently launched his new venture EE72 and its flagship publication, 72, his first major project since departing his former post. He expresses a desire to continue being a "disruptor".

"I’ve always questioned the established norms. I was raised in a place where the majority was Black – the doctors, the lawyers, the leader. Then we came to England, without funds, and I became the 'other'. I was very shy. My teachers said I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … all that gave me a sense of being on the inside and the outside."

Defying the popular image of industry figures as brash and temperamental, Enninful is measured in tone and exudes calm. His life has included its share of hardship, including openly discussed struggles with mental health and addiction.

He has also faced serious health issues, having had multiple operations on his eyes, resulting in partial sight. "I was in such a difficult period for two years, not working, terrified I was going to go blind. It’s comparable 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 confine 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 outside the industry that made his name. He is now organising a major 1990s exhibition at Tate Britain, bringing together work by a roster of influential artists and photographers from the era. The show, he says, aims to explore the decade's artistic collaboration – and spotlight those who lacked a spotlight at the time.

"The establishment often failed to shine a light on the truly innovative creators because they weren't of the traditional credentials," he observes.

This project itself uses a novel approach, rejecting traditional advertising in favour of partnership-based projects. "Our approach is, what can we do together? Is it an event, a series? The magazine is one component of a greater ecosystem."

Looking Forward Without Fear

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

What would the younger Edward make of the man he has become? He laughs heartily. "It would be a surprise, but he’d be impressed. At that time I was anti-establishment. I didn't think institutions like Tate were within my reach."

He pauses. "Gratitude is key. We were displaced, we left our homeland. I almost lost my vision. So fear isn't an option. People have doubted me my entire life. But no obstacle is too great once I’ve decided to do something."