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

A chance encounter during a tube journey in 1988 changed forever the course of a young Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the capital's buzzing 1990s cultural landscape, moving from mannequin to stylist and, by the age of 18, becoming the style editor of the publication i-D.

"That time was the zenith of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I knew we’d be kindred spirits. We all mixed across disciplines. Friday became Saturday into Sunday. I long for that rawness."

While Enninful may seem sentimental, he is far from alone. Lately, a wistful romanticisation of the 1990s has reached fever pitch. Yet since that time, Enninful feels a significant change. "I believe, we’re less accepting now than we were in the 90s," he observes. "It’s not even this country – it’s everywhere."

A Perceived Regression

This shift is difficult to overlook: the growth of far-right politics, the reaction against progressive values, and the return of Eurocentric beauty standards. Replacing the hope of the Blair era, now a different political personality appears as a potential leader. Furthermore, the British flag, once an emblem of Cool Britannia, has returned as a polarising symbol.

In Enninful's view, the solution has always been to champion culture in all its multifaceted forms. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a broad spectrum of influential figures from literature.

"Those in a position of influence should wield it," he says, discussing those publishing choices. "People often debate about immigration; I wouldn't be here if Britain was not a lenient country, if it hadn't given my family a refuge and an education. That’s the Britain I cherished. I hope this moment will pass."

A New Wave of Consciousness

He finds hope in the youth of today: "They’re much more aware than we were. They analyse unconscious bias – I didn't even know what that was."

His formative years would define a pioneering career built on fearlessness and representation. Enninful made history as the first male, 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 people of diverse backgrounds, plus-sized women, older individuals, and people from all walks of life. Significantly, sales increased.

"To overlook large portions of the population, it’s more than that you’re not being inclusive – it’s bad for business," he states.

A New Chapter as a 'Disruptor'

He has since founded his creative company EE72 and its accompanying magazine, 72, his first major project since leaving his previous role. He states his aim to continue being a "innovator".

"My nature is to challenge the conventional wisdom. I was raised in a place where Black professionals were the norm – the physicians, the lawyers, the president. Then we arrived in England, without funds, and I found myself on the margins. I was painfully reserved. My teachers declared I’d achieve nothing. Me and my brothers were harassed under the suspicion laws … all that gave me a sense of being on the inside and the outside."

Defying the popular image of industry figures as loud and highly strung, Enninful is calm and exudes calm. His journey has included its share of hardship, including publicly shared battles with mental health and substance use.

He has also faced significant health challenges, having had multiple operations on his eyes, now leaving him with impaired eyesight. "I endured such a dark place 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 thought, if this ever passes, I’m just going to do everything that I was so afraid to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This refusal to be typecast has inspired him away from the industry that made his name. He is now organising a significant 1990s exhibition at Tate Britain, featuring work by a group of pivotal artists and photographers from the era. The show, he says, aims to evoke the decade's interdisciplinary energy – and spotlight those who weren't given a spotlight at the time.

"Galleries sometimes neglected to celebrate the most relevant talents because they weren't of the traditional credentials," he observes.

This venture itself uses a different approach, forgoing traditional advertising in favour of partnership-based projects. "The question is, what can we create collaboratively? Is it an event, a series? The magazine is a piece within a larger creative platform."

An Unstoppable Drive

Today, Enninful stands as one of the world's most influential cultural influencers. His path, he states, is a proof to the power of defying expectations.

What would the Enninful of that era think of the Edward of today? He chuckles. "He would be astonished, but he’d be impressed. At that time I was sceptical of institutions. I would not have believed institutions like Tate were a place for someone like me."

He pauses. "I never take anything for granted. We fled, we fled our country. I almost lost my vision. So fear is not a factor. People have underestimated me my whole career. But I am unstoppable once I’ve made up my mind to do something."