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

A serendipitous meeting while riding the tube in 1988 changed forever the path of a teenage Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the capital's electric 1990s artistic milieu, moving from model to stylist and, while still a teenager, becoming the style editor of the publication i-D.

"That time was the height of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I knew we’d be kindred spirits. We all hung out across disciplines. Friday bled into Saturday into Sunday. I yearn for that spontaneity."

Although Enninful appears nostalgic, he is far from alone. Lately, a fond idealisation of the 1990s has become pervasive. But over the last thirty years, Enninful feels a profound shift. "I feel, we’re more divided now than we were in the 90s," he observes. "It’s not even this country – it’s a global phenomenon."

A Cultural Backslide

This shift is increasingly evident: the resurgence of far-right politics, the backlash against social awareness, and the reinforcement of traditional beauty standards. In place of the optimism of the late 90s, currently a different political force stands as a potential leader. Even, the Union Jack, once an emblem of Cool Britannia, has sparked debate once more.

For Enninful, the antidote has long been to champion culture in all its variety. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a diverse array of prominent faces from politics.

"Individuals with a platform should employ it," he says, explaining those editorial decisions. "People often debate about immigration; I wouldn't be here if Britain hadn't been a lenient country, if it refused my family a home and an opportunity. That’s the Britain I cherished. I trust this moment will fade."

A New Wave of Consciousness

He finds hope in the next generation: "Their awareness is greater than we were. They discuss unconscious bias – I was not even aware what that was."

His formative years would shape a pioneering career marked by fearlessness and diversity. Enninful broke barriers as the first man, first Black editor, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His leadership featured landmark covers showcasing people of diverse backgrounds, curvy models, an octogenarian, and people from all walks of life. Critically, sales grew.

"Ignoring vast segments of the population, it’s not just that you’re excluding people – it’s commercially unwise," he states.

Beyond the Magazine World

He has recently launched his agency EE72 and its flagship publication, 72, his premier initiative since departing his previous role. He states his aim to continue being a "disruptor".

"I constantly interrogate the established norms. I was brought up in a place where the majority was Black – the doctors, the lawyers, the president. Then we came to England, without funds, and I became the 'other'. I was painfully reserved. My teachers predicted I’d never amount to anything. Me and my brothers were harassed under the Sus laws … all that gave me a unique perspective both an insider and outsider."

Contrary to the popular image of industry figures as loud and temperamental, Enninful is calm and projects peace. His journey has included its share of hardship, including well-documented periods of mental health and substance use.

He has also undergone significant health challenges, having had multiple operations on his eyes, resulting in partial sight. "I was in such a difficult period for two years, not working, fearing I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I prayed, if this ever ends, I’m just going to do everything that I was so scared to do. I’m not going to restrict myself to just being an editor or a fashion person."

Curating a Cultural Era

This drive to fit into a box has led him outside the realm that built his career. He is now putting together a major 1990s exhibition at Tate Britain, bringing together 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 give platform to those who lacked a spotlight at the time.

"The establishment sometimes neglected to celebrate the right artists because they did not have the right pedigree," he comments.

The magazine 72 itself functions with a novel business model, forgoing traditional advertising in favour of integrated partnerships. "The question is, what can we achieve in partnership? Is it an event, a series? The magazine is one component of a broader vision."

Looking Forward Without Fear

Now, Enninful is regarded as one of the world's most respected industry leaders. His journey, he states, is a proof to the power of following your instincts.

What would the Edward of the 90s make of the man he has become? He smiles. "He’d be in shock, but he’d be pleased. At that time I was anti-establishment. I didn't think institutions like Tate were within my reach."

He adds. "Gratitude is key. We fled, we left our homeland. I came close to losing my vision. So there is no room for fear. People have underestimated me my whole career. But nothing can stop me once I’ve decided to do something."