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

A chance encounter during a tube journey in 1988 changed forever the trajectory of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the London's buzzing 1990s artistic milieu, evolving from model to stylist and, before turning twenty, becoming the style editor of the iconic i-D.

"That era was the peak of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I knew we’d be kindred spirits. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I miss that energy."

If Enninful sounds nostalgic, he is not the only one. Recently, a fond idealisation of the 1990s has grown intense. However over the last thirty years, Enninful believes a profound shift. "I believe, we’re less accepting now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s worldwide."

A Cultural Backslide

This regression is difficult to overlook: the growth of populist movements, the backlash against social awareness, and the return of Eurocentric beauty standards. Where once there was the optimism of the late 90s, currently a more divisive political force appears as a possible leader. Furthermore, the British flag, once an emblem of Cool Britannia, has become contentious again.

For Enninful, the solution has long been to promote culture in all its diversity. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a diverse array of influential figures from politics.

"Individuals with a platform should use it," he says, explaining those editorial decisions. "People often debate about immigration; I wouldn't be here if Britain were not a open country, if it hadn't given my family a home and an opportunity. That’s the Britain I believed in. I trust this phase will end."

Hope in the Next Generation

He takes comfort in the youth of today: "They’re much more aware than we were. They discuss unconscious bias – I had no concept what that was."

His formative years would define a trailblazing career characterised by boldness and representation. Enninful made history as the first male, first Black editor, first gay man, and first disabled Black gay man to lead at British Vogue. His time featured diverse covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and people from all walks of life. Critically, sales increased.

"When you ignore vast segments of the population, it’s not just that you’re not being inclusive – it’s bad for business," he emphasises.

Beyond the Magazine World

He has since founded his agency EE72 and its flagship publication, 72, his key endeavour since departing his previous role. He says he wants to continue being a "disruptor".

"I’ve always questioned the established norms. I was raised in a place where everybody was black – the doctors, the attorneys, the president. Then we came to England, without funds, and I found myself on the margins. I was incredibly timid. My teachers said I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … this duality gave me a unique perspective both an insider and outsider."

In contrast to the caricature of fashion editors as loud and highly strung, Enninful is calm and radiates serenity. His path has included its share of hardship, including openly discussed periods of depression and substance use.

He has also faced serious health issues, having undergone several surgeries on his eyes, resulting in partial sight. "I experienced such a difficult period 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 embrace every opportunity that I was so fearful to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This drive to be typecast has propelled him beyond the industry that established him. He is now organising a significant 1990s exhibition at Tate Britain, showcasing work by a host of pivotal artists and photographers from the era. The show, he says, aims to evoke the decade's creative cross-pollination – and highlight those who did not receive adequate attention at the time.

"Galleries didn't always shine a light on the right artists because they did not have the right pedigree," he states.

This project itself operates on a novel approach, forgoing 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 broader vision."

Looking Forward Without Fear

Today, Enninful stands as one of the world's most powerful creative power brokers. His story, he states, is a proof to the power of defying expectations.

What would the Enninful of that era make of the Edward of today? He chuckles. "He would be astonished, but he’d be impressed. In those days I was sceptical of institutions. I would not have believed institutions like Tate were within my reach."

He adds. "Gratitude is key. We lost our home, we left our homeland. I came close to losing my vision. So fear isn't an option. People have underestimated me my entire life. But no obstacle is too great once I’ve decided to do something."