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

A serendipitous meeting on the London Underground in 1988 changed forever the path of a teenage Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the capital's buzzing 1990s creative scene, evolving from model to stylist and, by the age of 18, becoming the fashion director of the publication i-D.

"It was the zenith of the YBA movement – Jay Jopling, Tracey Emin. I met 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 rolled into Saturday into Sunday. I miss that spontaneity."

While Enninful may seem sentimental, he is in good company. Recently, a wistful romanticisation of the 1990s has grown intense. Yet over the last thirty years, Enninful feels a significant change. "In my view, we’re less accepting now than we were in the 90s," he says. "It’s not even this country – it’s a global phenomenon."

A Cultural Backslide

This shift is hard to ignore: the resurgence of populist movements, the reaction against so-called "wokeness", and the reassertion of traditional beauty standards. Replacing the hope of the Blair era, today a different political force stands as a possible leader. Even, the Union Jack, once an symbol of Cool Britannia, has returned as a polarising symbol.

For Enninful, the antidote has long been to promote culture in all its variety. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a diverse array of cultural icons from music.

"Those in a position of influence should employ it," he asserts, referring to those publishing choices. "People often debate about immigration; I wouldn't be here if Britain were not a open country, if it refused my family a refuge and an opportunity. That’s the Britain I cherished. I believe this moment will pass."

A New Wave of Consciousness

He finds hope in the younger generation: "Their awareness is greater than we were. They talk about implicit prejudice – I had no concept what that was."

His formative years would forge a pioneering career characterised by fearlessness and diversity. Enninful made history as the first man, first black man, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His tenure featured landmark covers showcasing people of diverse backgrounds, curvy models, older individuals, and individuals from varied communities. Critically, sales rose.

"Ignoring vast segments of the population, it’s not just that you’re not being inclusive – it’s commercially unwise," he emphasises.

Launching a Creative Venture

He has established his new venture EE72 and its accompanying magazine, 72, his key endeavour since moving on from his previous role. He says he wants to continue being a "innovator".

"My nature is to challenge the conventional wisdom. I was born and raised in a place where everybody was black – the physicians, the attorneys, the leader. Then we came to England, with nothing, and I was a minority. I was painfully reserved. My teachers predicted I’d have no future. Me and my brothers were subject to police stops the Sus laws … this duality gave me a dual identity both an insider and outsider."

Contrary to the popular image of industry figures as loud and temperamental, Enninful is calm and exudes calm. His journey has involved challenges, including publicly shared battles with depression and addiction.

He has also undergone serious health challenges, having had multiple operations on his eyes, leading to impaired eyesight. "I was in such a difficult period for two years, not working, anxious I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I vowed, if this ever ends, 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."

Curating a Cultural Era

This determination to be defined narrowly has propelled him outside the realm that built his career. He is now putting together a seminal 1990s exhibition at Tate Britain, bringing together work by a roster of pivotal artists and photographers from the era. The show, he notes, aims to explore the decade's interdisciplinary energy – and highlight those who did not receive a spotlight at the time.

"Institutions didn't always promote the most relevant talents because they did not have the right pedigree," he comments.

This venture itself operates on a unique 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 a piece within a greater ecosystem."

Looking Forward Without Fear

Now, Enninful stands as one of the world's most respected industry leaders. His journey, he states, is a testament to the power of following your instincts.

What would the Edward of the 90s think of the his current self? He chuckles. "He’d be in shock, but he’d be proud. At that time I was anti-establishment. I didn't think institutions like Tate were within my reach."

He pauses. "Gratitude is key. We fled, we left our homeland. I came close to losing my vision. So fear is not a factor. People have underestimated me my entire life. But I am unstoppable once I’ve decided to do something."