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

A chance encounter during a tube journey in 1988 transformed the path of a teenage Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the capital's electric 1990s cultural landscape, progressing from mannequin to stylist and, by the age of 18, becoming the style editor of i-D magazine.

"That time was the height of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I understood we’d be close. We all socialised across disciplines. Friday bled into Saturday into Sunday. I miss that energy."

While Enninful may seem sentimental, he is in good company. Recently, a fond idealisation of the 1990s has reached fever pitch. But since that time, Enninful believes a significant change. "In my view, we’re more divided now than we were in the 90s," he remarks. "This isn't just this country – it’s everywhere."

Shifting Attitudes

This shift is hard to ignore: the growth of nationalist groups, the reaction against so-called "wokeness", and the return of traditional beauty standards. Replacing the hope of the previous decade, today a more divisive political personality looms as a possible leader. Even, the British flag, once an symbol of Cool Britannia, has sparked debate once more.

In Enninful's view, the response has consistently been to promote culture in all its multifaceted forms. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a wide range of influential figures from politics.

"People with a voice should wield it," he asserts, explaining those publishing choices. "There is much discussion about immigration; I would not be in this position if Britain hadn't been a open country, if it did not offer my family a home and an education. That’s the Britain I cherished. I believe this phase will pass."

Hope in the Next Generation

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

His formative years would shape a pioneering career marked by boldness and inclusivity. Enninful made history as the first male, first black man, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His leadership featured historic front pages showcasing people of diverse backgrounds, curvy models, older individuals, and people from varied communities. Significantly, sales increased.

"When you ignore vast segments of the population, it’s not just that you’re excluding people – it’s a poor strategy," he states.

A New Chapter as a 'Disruptor'

He has established his creative company EE72 and its flagship publication, 72, his first major project since departing his previous role. He states his aim to continue being a "innovator".

"I’ve always questioned the conventional wisdom. I was raised in a place where everybody was black – the physicians, the lawyers, the president. Then we arrived in England, with nothing, and I found myself on the margins. I was painfully reserved. My teachers declared 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 caricature of industry figures as loud and temperamental, Enninful is calm and radiates serenity. His journey has not been immune to hardship, including well-documented periods of mental health and substance use.

He has also undergone significant health challenges, having undergone several surgeries on his eyes, leading to limited vision. "I endured such a time of fear for two years, not working, fearing I was going to go blind. It’s comparable to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever passes, I’m just going to do everything that I was so fearful to do. I’m not going to limit myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This determination to be defined narrowly has led him away from the world that established him. He is now curating a seminal 1990s exhibition at Tate Britain, featuring work by a group of influential artists and photographers from the era. The show, he explains, aims to capture the decade's interdisciplinary energy – and spotlight those who lacked adequate attention at the time.

"Institutions didn't always celebrate the right artists because they weren't of the right pedigree," he states.

This venture itself uses a novel strategy, forgoing traditional advertising in favour of integrated partnerships. "Our approach is, what can we achieve in partnership? Is it an event, a podcast? The magazine is a piece within a broader vision."

An Unstoppable Drive

Currently, Enninful is regarded as one of the world's most respected creative power brokers. His path, he states, is a testament to the power of following your instincts.

How would the Enninful of that era react to the man he has become? He laughs heartily. "It would be a surprise, but he’d be proud. In those days I was sceptical of institutions. I would not have believed institutions like Tate were within my reach."

He reflects. "I never take anything for granted. We lost our home, we fled our country. I nearly lost my vision. So fear is not a factor. People have underestimated me my entire life. But no obstacle is too great once I’ve made up my mind to do something."