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

A chance encounter while riding the tube in 1988 changed forever the course of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was quickly drawn into the city's buzzing 1990s creative scene, progressing from model to stylist and, by the age of 18, becoming the fashion director of the publication i-D.

"That era was the zenith of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then I met Naomi 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 nostalgic, he is in good company. In recent times, a fond idealisation of the 1990s has reached fever pitch. Yet in the intervening decades, Enninful believes a significant change. "I feel, we’re more divided now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s worldwide."

A Cultural Backslide

This shift is difficult to overlook: the resurgence of far-right politics, the pushback against social awareness, and the return of traditional beauty standards. Where once there was the optimism of the Blair era, currently a different political personality appears as a possible leader. Furthermore, the British flag, once an badge of national pride, has become contentious again.

For Enninful, the response has long been to celebrate culture in all its multifaceted forms. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a broad spectrum of prominent faces from art.

"Those in a position of influence should wield it," he says, explaining those editorial decisions. "There is much discussion about immigration; I would not be in this position if Britain was not a lenient country, if it did not offer my family a home and an opportunity. That’s the Britain I always loved. I hope this phase will pass."

A New Wave of Consciousness

He takes comfort in the younger generation: "Their awareness is greater than we were. They analyse systemic issues – I didn't even know what that was."

His formative years would forge a trailblazing career marked by fearlessness and diversity. Enninful made history as the first man, first Black editor, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His tenure featured historic front pages showcasing Black models, plus-sized women, older individuals, and people from all walks of life. Importantly, sales rose.

"When you ignore vast segments of the population, it’s not just that you’re not being inclusive – it’s a poor strategy," he emphasises.

A New Chapter as a 'Disruptor'

He has established his agency EE72 and its accompanying magazine, 72, his premier initiative since departing his former post. He says he wants to continue being a "innovator".

"I constantly interrogate the status quo. I was raised in a place where the majority was Black – the doctors, the lawyers, the leader. Then we arrived in England, without funds, and I found myself on the margins. I was very shy. My teachers said I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … those experiences gave me a unique perspective both an insider and outsider."

Contrary to the stereotype of fashion editors as brash and highly strung, Enninful is softly spoken and radiates serenity. His life has involved hardship, including well-documented periods of depression and addiction.

He has also faced serious health issues, having had multiple operations on his eyes, leading to partial sight. "I was in such a difficult period for two years, not working, anxious I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I prayed, if this ever passes, I’m just going to pursue all that I was so fearful to do. I’m not going to limit myself to just being an editor or a fashion person."

A Foray into Curation

This drive to be typecast has led him away from the industry that built his career. He is now curating a major 1990s exhibition at Tate Britain, showcasing work by a group of influential artists and photographers from the era. The show, he notes, aims to capture the decade's creative cross-pollination – and give platform to those who weren't given due recognition at the time.

"Institutions sometimes neglected to shine a light on the right artists because they did not have the expected background," he states.

This project itself functions with a different approach, rejecting traditional advertising in favour of creative collaborations. "We ask, what can we do together? Is it an experience, a series? The magazine is part of a larger creative platform."

A Testament to Resilience

Today, Enninful stands as one of the world's most respected industry leaders. His story, he states, is a demonstration to the power of defying expectations.

How would the younger Edward think of the his current self? He laughs heartily. "He’d be in shock, but he’d be proud. Back then I was a rebel. I never imagined institutions like Tate were necessarily for me."

He reflects. "I never take anything for granted. We fled, we left our homeland. I nearly lost my vision. So fear isn't an option. People have counted me out my entire life. But I am unstoppable once I’ve set my intention to do something."