Edward Enninful 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 teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the capital's electric 1990s creative scene, progressing from mannequin to stylist and, before turning twenty, becoming the fashion director of the publication i-D.

"That time was the height of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I understood we’d be close. We all mixed across disciplines. Friday became Saturday into Sunday. I miss that rawness."

While Enninful may seem sentimental, he is in good company. In recent times, a wistful romanticisation of the 1990s has grown intense. However since that time, Enninful perceives a noticeable regression. "I feel, we’re less tolerant now than we were in the 90s," he remarks. "It’s not even this country – it’s everywhere."

A Perceived Regression

This change is increasingly evident: the growth of nationalist groups, the pushback against progressive values, and the reassertion of narrow beauty standards. Where once there was the hope of the late 90s, now a different political figure stands as a potential leader. Even, the Union Jack, once an symbol of Cool Britannia, has sparked debate once more.

According to Enninful, the solution has always been to champion culture in all its variety. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a diverse array of cultural icons from politics.

"People with a voice should wield it," he comments, explaining those publishing choices. "People often debate about immigration; I could not have had this life if Britain was not a lenient country, if it did not offer my family a home and an education. That’s the Britain I believed in. I trust this period will fade."

A New Wave of Consciousness

He draws solace in the younger generation: "Their awareness is greater than we were. They discuss implicit prejudice – I didn't even know what that was."

His formative years would define a pioneering career marked by boldness and representation. Enninful broke barriers as the first man, first Black editor, first openly gay person, and first disabled Black gay man to lead at British Vogue. His time featured landmark covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and individuals from varied communities. Critically, sales increased.

"Ignoring huge sections of the population, it’s more than that you’re not being inclusive – it’s a poor strategy," he emphasises.

Launching a Creative Venture

He has recently launched his creative company EE72 and its flagship publication, 72, his premier initiative since departing his former post. He says he wants to continue being a "disruptor".

"My nature is to challenge the conventional wisdom. I was born and raised in a place where Black professionals were the norm – the doctors, the attorneys, the president. Then we came to England, without funds, and I found myself on the margins. I was painfully reserved. My teachers declared I’d have no future. Me and my brothers were stopped by the police the Sus laws … this duality gave me a dual identity between worlds."

Contrary to the stereotype of fashion editors as loud and highly strung, Enninful is softly spoken and projects peace. His life has not been immune to adversity, including publicly shared battles with mental health and substance use.

He has also faced serious health challenges, having had multiple operations on his eyes, resulting in impaired eyesight. "I endured such a time of fear for two years, not working, anxious I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever passes, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to limit myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This refusal to be typecast has propelled him outside the industry that established him. He is now putting together a major 1990s exhibition at Tate Britain, showcasing work by a group of defining artists and photographers from the era. The show, he explains, aims to explore the decade's interdisciplinary energy – and highlight those who lacked a spotlight at the time.

"Galleries sometimes neglected to celebrate the truly innovative creators because they weren't of the expected background," he observes.

This venture itself operates on a novel strategy, rejecting traditional advertising in favour of integrated partnerships. "Our approach is, what can we create collaboratively? Is it an experience, a series? The magazine is one component of a broader vision."

Looking Forward Without Fear

Today, Enninful operates as one of the world's most powerful cultural influencers. His path, he believes, is a testament to the power of following your instincts.

How would the younger Edward make of the his current self? He smiles. "He would be astonished, but he’d be impressed. At that time 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 fled our country. I nearly lost my vision. So fear isn't an option. People have counted me out my whole career. But no obstacle is too great once I’ve set my intention to do something."