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

A chance encounter while riding the tube in 1988 changed forever the course of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the city's buzzing 1990s creative scene, progressing from model to stylist and, before turning twenty, becoming the fashion director of the publication i-D.

"It was the height of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I understood we’d be great friends. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I miss that rawness."

If Enninful sounds wistful, he is far from alone. In recent times, a fond idealisation of the 1990s has reached fever pitch. Yet over the last thirty years, Enninful feels a noticeable regression. "I believe, we’re more divided 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 increasingly evident: the growth of populist movements, the pushback against progressive values, and the return of traditional beauty standards. In place of the hope of the late 90s, currently a more divisive political personality looms as a possible leader. Furthermore, the British flag, once an symbol of Cool Britannia, has returned as a polarising symbol.

According to Enninful, the solution has long been to champion 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 portrait of modern Britain, including a wide range of cultural icons from politics.

"Those in a position of influence should wield it," he asserts, explaining those publishing choices. "Everyone talks about immigration; I would not be in this position if Britain was not a open country, if it did not offer my family a home and an opportunity. That’s the Britain I always loved. I hope this moment will end."

Hope in the Next Generation

He draws solace in the younger generation: "They’re much more aware than we were. They analyse unconscious bias – I was not even aware what that was."

His formative years would forge a groundbreaking career marked by boldness and inclusivity. Enninful set a precedent as the first man, first Black editor, first gay man, and first disabled gay man of colour to lead at British Vogue. His time featured landmark covers showcasing models of colour, plus-sized women, an octogenarian, and people from varied communities. Significantly, sales increased.

"To overlook large portions of the population, it’s not just that you’re failing to represent – it’s a poor strategy," he explains.

Launching a Creative Venture

He has recently launched his creative company EE72 and its accompanying magazine, 72, his premier initiative since leaving his former post. He says he wants to continue being a "innovator".

"My nature is to challenge the established norms. I was brought up in a place where everybody was black – the physicians, the lawyers, the leader. Then we came to England, penniless, 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 subject to police stops the suspicion laws … all that gave me a sense of being between worlds."

Contrary to the stereotype of industry figures as brash and highly strung, Enninful is measured in tone and exudes calm. His life has not been immune to adversity, including openly discussed battles with mental health and substance use.

He has also endured serious health challenges, having had multiple operations on his eyes, now leaving him with limited vision. "I endured such a time of fear for two years, away from work, fearing I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I thought, if this ever is over, I’m just going to do everything that I was so afraid to do. I’m not going to confine myself to just being an editor or a figure in fashion."

A Foray into Curation

This refusal to be typecast has led him away from the realm that established him. He is now putting together a major 1990s exhibition at Tate Britain, bringing together work by a group of pivotal artists and photographers from the era. The show, he notes, aims to capture the decade's artistic collaboration – and highlight those who lacked adequate attention at the time.

"Institutions often failed to celebrate the truly innovative creators because they weren't of the expected background," he comments.

The magazine 72 itself functions with a different approach, rejecting traditional advertising in favour of partnership-based projects. "The question is, what can we create collaboratively? Is it an experience, a series? The magazine is part of a larger creative platform."

A Testament to Resilience

Today, Enninful operates as one of the world's most powerful cultural influencers. His story, he feels, is a proof to the power of defying expectations.

How would the younger Edward think of the Edward of today? He smiles. "He’d be in shock, but he’d be impressed. At that time I was a rebel. I didn't think institutions like Tate were a place for someone like me."

He adds. "Gratitude is key. We lost our home, we fled our country. I nearly lost my vision. So fear is not a factor. People have doubted me my whole career. But nothing can stop me once I’ve decided to do something."