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

An unexpected discovery during a tube journey in 1988 changed forever the trajectory of a young Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the capital's buzzing 1990s artistic milieu, moving from mannequin to stylist and, by the age of 18, becoming the style editor of i-D magazine.

"That time was the peak of the Young British Artists – Tracey Emin, Jay Jopling. 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 hung out across disciplines. Friday bled into Saturday into Sunday. I yearn for that energy."

Although Enninful appears sentimental, he is not the only one. Recently, a longing look back of the 1990s has grown intense. But since that time, Enninful believes a noticeable regression. "In my view, we’re less tolerant now than we were in the 90s," he says. "This isn't just this country – it’s worldwide."

Shifting Attitudes

This change is increasingly evident: the rise of far-right politics, the pushback against so-called "wokeness", and the return of traditional beauty standards. Replacing the optimism of the Blair era, currently a different political figure looms as a potential leader. Even, the Union Jack, once an symbol of national pride, has sparked debate once more.

For Enninful, the solution has long been to promote culture in all its diversity. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a broad spectrum of prominent faces from literature.

"Those in a position of influence should employ it," he says, explaining those publishing choices. "Everyone talks about immigration; I could not have had this life if Britain were not a open country, if it hadn't given my family a home and an education. That’s the Britain I always loved. I hope this phase will end."

The Younger Generation's Awareness

He finds hope in the next generation: "They’re much more aware than we were. They analyse implicit prejudice – I didn't even know what that was."

The beginnings of his career would shape a trailblazing career marked by boldness and diversity. Enninful broke barriers 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 models of colour, plus-sized women, older individuals, and people from varied communities. Critically, sales rose.

"To overlook vast segments of the population, it’s not just that you’re failing to represent – it’s bad for business," he emphasises.

Launching a Creative Venture

He has since founded his new venture EE72 and its accompanying magazine, 72, his premier initiative since moving on from his previous role. He expresses a desire to continue being a "disruptor".

"I constantly interrogate the status quo. I was brought up in a place where Black professionals were the norm – the physicians, the lawyers, the president. Then we came to England, penniless, and I found myself on the margins. I was very shy. My teachers said I’d never amount to anything. Me and my brothers were harassed under the suspicion laws … all that gave me a dual identity between worlds."

Defying the caricature of fashion editors as loud and temperamental, Enninful is measured in tone and exudes calm. His journey has not been immune to hardship, including openly discussed battles with mental health and substance use.

He has also undergone serious health issues, having undergone several surgeries on his eyes, resulting in limited vision. "I endured such a dark place 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 vowed, if this ever ends, 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 fashion person."

A Foray into Curation

This determination to be defined narrowly has propelled him beyond the world that built his career. He is now curating a major 1990s exhibition at Tate Britain, showcasing work by a group of pivotal artists and photographers from the era. The show, he explains, aims to explore the decade's artistic collaboration – and give platform to those who did not receive adequate attention at the time.

"The establishment often failed to shine a light on the truly innovative creators because they weren't of the right pedigree," he states.

The magazine 72 itself operates on a novel strategy, rejecting traditional advertising in favour of creative collaborations. "We ask, what can we create collaboratively? Is it an event, a series? The magazine is one component of a larger creative platform."

Looking Forward Without Fear

Today, Enninful is regarded as one of the world's most influential creative power brokers. His journey, he believes, is a proof to the power of pursuing your passions.

How would the Edward of the 90s think of the Edward of today? He chuckles. "It would be a surprise, but he’d be pleased. In those days I was sceptical of institutions. I never imagined institutions like Tate were necessarily for me."

He pauses. "Nothing is assumed. We fled, we fled our country. I nearly lost my vision. So fear isn't an option. People have underestimated me my whole career. But no obstacle is too great once I’ve decided to do something."