Edward Enninful on Modern Britain: 'Britain Feels Less Tolerant Now' Than in the 90s.

A chance encounter on the London Underground in 1988 altered the path of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the London's vibrant 1990s artistic milieu, moving from model to stylist and, before turning twenty, becoming the style editor of i-D magazine.

"That time was the height of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I understood we’d be kindred spirits. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I miss that energy."

While Enninful may seem wistful, he is in good company. Recently, a wistful romanticisation of the 1990s has reached fever pitch. However in the intervening decades, Enninful feels a profound shift. "In my view, we’re more divided now than we were in the 90s," he observes. "This isn't just this country – it’s everywhere."

A Cultural Backslide

This shift is increasingly evident: the rise of far-right politics, the backlash against so-called "wokeness", and the reinforcement of Eurocentric beauty standards. Replacing the optimism of the previous decade, currently a more divisive political personality stands as a possible leader. Furthermore, the Union Jack, once an emblem of national pride, has returned as a polarising symbol.

In Enninful's view, the response has always been to champion culture in all its multifaceted forms. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a diverse array of influential figures from art.

"People with a voice should wield it," he asserts, referring to those editorial decisions. "Everyone talks about immigration; I could not have had this life if Britain were not a open country, if it refused my family a home and an opportunity. That’s the Britain I always loved. I hope this period will end."

A New Wave of Consciousness

He draws solace in the youth of today: "They’re much more aware than we were. They discuss unconscious bias – I had no concept what that was."

The beginnings of his career would define a pioneering career characterised by fearlessness and diversity. Enninful broke barriers as the first man, first Black editor, first gay man, and first disabled Black gay man to take the helm at British Vogue. His leadership featured diverse covers showcasing models of colour, curvy models, an octogenarian, and individuals from varied communities. Significantly, sales rose.

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

A New Chapter as a 'Disruptor'

He has recently launched his new venture EE72 and its accompanying magazine, 72, his key endeavour since moving on from his previous role. He says he wants to continue being a "change-maker".

"My nature is to challenge the established norms. I was raised in a place where Black professionals were the norm – the physicians, the attorneys, the president. Then we came to England, with nothing, and I was a minority. I was very shy. My teachers declared I’d have no future. Me and my brothers were subject to police stops the Sus laws … all that gave me a unique perspective on the inside and the outside."

Defying the popular image of fashion editors as brash and temperamental, Enninful is calm and projects peace. His journey has not been immune to challenges, including well-documented struggles with depression and substance use.

He has also endured serious health issues, having undergone several surgeries on his eyes, leading to partial sight. "I endured such a time of fear for two years, not working, anxious I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever passes, I’m just going to do everything that I was so scared to do. I’m not going to confine myself to just being an editor or a fashion person."

A Foray into Curation

This refusal to be typecast has propelled him beyond the industry that made his name. He is now curating a major 1990s exhibition at Tate Britain, showcasing work by a roster of pivotal artists and photographers from the era. The show, he notes, aims to evoke the decade's artistic collaboration – and highlight those who lacked adequate attention at the time.

"Galleries often failed to promote the most relevant talents because they did not have the expected background," he states.

This project itself operates on a novel strategy, eschewing traditional advertising in favour of partnership-based projects. "Our approach is, what can we achieve in partnership? Is it an experience, a podcast? The magazine is one component of a broader vision."

A Testament to Resilience

Now, Enninful is regarded as one of the world's most powerful industry leaders. His journey, he states, is a testament to the power of defying expectations.

What would the younger Edward think of the Edward of today? He smiles. "He would be astonished, but he’d be pleased. At that time I was a rebel. I would not have believed institutions like Tate were a place for someone like me."

He reflects. "Gratitude is key. We lost our home, we left our homeland. I almost lost my vision. So fear is not a factor. People have doubted me my entire life. But I am unstoppable once I’ve made up my mind to do something."