Edward Enninful reflects on Modern Britain: 'A Decline in Tolerance' Than We Were Decades Ago.

A chance encounter on the London Underground in 1988 changed forever the course of a young Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the London's vibrant 1990s creative scene, progressing from model to stylist and, before turning twenty, becoming the style editor of the iconic i-D.

"That time was the zenith of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I felt we’d be kindred spirits. We all mixed across disciplines. Friday bled into Saturday into Sunday. I yearn for that rawness."

Although Enninful appears sentimental, he is in good company. Lately, a wistful romanticisation of the 1990s has become pervasive. But over the last thirty years, Enninful believes a significant change. "I feel, we’re more divided now than we were in the 90s," he observes. "This isn't just this country – it’s worldwide."

A Cultural Backslide

This change is hard to ignore: the rise of far-right politics, the pushback against social awareness, and the reassertion of Eurocentric beauty standards. In place of the hope of the late 90s, today a different political force stands as a potential leader. Furthermore, the Union Jack, once an badge of national pride, has sparked debate once more.

For Enninful, the antidote has long been to champion culture in all its variety. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a wide range of prominent faces from literature.

"Those in a position of influence should employ it," he asserts, referring to those editorial decisions. "People often debate about immigration; I would not be in this position if Britain hadn't been a open country, if it hadn't given my family a home and an opportunity. That’s the Britain I always loved. I believe this period will pass."

The Younger Generation's Awareness

He draws solace in the youth of today: "Their awareness is greater than we were. They talk about unconscious bias – I was not even aware what that was."

His formative years would forge a groundbreaking career built on boldness and representation. 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 leadership featured landmark covers showcasing Black models, curvy models, older individuals, and individuals from all walks of life. Significantly, sales grew.

"To overlook huge sections of the population, it’s not just that you’re excluding people – it’s a poor strategy," he explains.

A New Chapter as a 'Disruptor'

He has established his agency EE72 and its flagship publication, 72, his first major project since departing his former post. He states his aim to continue being a "change-maker".

"My nature is to challenge the status quo. I was raised in a place where the majority was Black – the doctors, the attorneys, the president. Then we came to England, with nothing, and I was a minority. I was incredibly timid. My teachers predicted I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … those experiences gave me a dual identity between worlds."

In contrast to the stereotype of industry figures as loud and temperamental, Enninful is softly spoken and projects peace. His path has involved hardship, including well-documented periods of mental health and addiction.

He has also undergone significant health challenges, having undergone several surgeries on his eyes, leading to limited vision. "I was in such a time of fear for two years, not working, fearing I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I prayed, if this ever passes, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to restrict myself to just being an editor or a fashion person."

A Foray into Curation

This refusal to be defined narrowly has inspired him away from the realm that established him. He is now organising a significant 1990s exhibition at Tate Britain, bringing together work by a group of influential artists and photographers from the era. The show, he notes, aims to explore the decade's interdisciplinary energy – and spotlight those who weren't given due recognition at the time.

"Institutions often failed to celebrate the most relevant talents because they weren't of the right pedigree," he states.

The magazine 72 itself functions with a different approach, eschewing traditional advertising in favour of partnership-based projects. "The question is, what can we create collaboratively? Is it an event, a podcast? The magazine is one component of a greater ecosystem."

Looking Forward Without Fear

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

How would the younger Edward make of the man he has become? He chuckles. "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 a place for someone like me."

He adds. "Nothing is assumed. We lost our home, we left our homeland. I nearly lost my vision. So fear isn't an option. People have doubted me my entire life. But I am unstoppable once I’ve decided to do something."