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

A chance encounter on the London Underground in 1988 transformed the path of a teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the London's buzzing 1990s cultural landscape, progressing from mannequin to stylist and, while still a teenager, becoming the fashion director of the iconic i-D.

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

Although Enninful appears wistful, he is far from alone. Recently, a longing look back of the 1990s has reached fever pitch. But in the intervening decades, Enninful perceives a noticeable regression. "I believe, we’re less tolerant now than we were in the 90s," he observes. "The issue extends beyond this country – it’s worldwide."

A Perceived Regression

This change is increasingly evident: the resurgence of nationalist groups, the backlash against social awareness, and the reinforcement of traditional beauty standards. Where once there was the optimism of the previous decade, today a more divisive political figure looms as a possible leader. Furthermore, the British flag, once an symbol of Cool Britannia, has sparked debate once more.

For Enninful, the antidote has consistently been to celebrate culture in all its variety. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a diverse array of cultural icons from politics.

"Those in a position of influence should wield it," he says, discussing those editorial decisions. "People often debate about immigration; I wouldn't be here 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 believe this phase will fade."

Hope in the Next Generation

He takes comfort in the next generation: "Their awareness is greater than we were. They analyse systemic issues – I had no concept what that was."

His formative years would define a trailblazing career characterised by fearlessness and inclusivity. Enninful set a precedent as the first male, first Black editor, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His time featured landmark covers showcasing Black models, curvy models, an octogenarian, and people from all walks of life. Critically, sales increased.

"Ignoring vast segments of the population, it’s not just that you’re excluding people – it’s a poor strategy," he states.

Beyond the Magazine World

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 "innovator".

"I constantly interrogate the status quo. I was brought up in a place where the majority was Black – the physicians, the lawyers, the leader. Then we came to England, with nothing, and I was a minority. I was incredibly timid. My teachers said I’d have no future. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a dual identity between worlds."

In contrast to the stereotype of industry figures as brash and highly strung, Enninful is measured in tone and projects peace. His path has not been immune to hardship, including well-documented battles with depression and substance use.

He has also faced significant health issues, having had multiple operations on his eyes, now leaving him with partial sight. "I endured such a difficult period for two years, away from work, fearing I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I thought, if this ever passes, 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 figure in fashion."

Curating a Cultural Era

This determination to be typecast has inspired him beyond the realm that made his name. He is now putting together a significant 1990s exhibition at Tate Britain, showcasing work by a roster of pivotal artists and photographers from the era. The show, he says, aims to evoke the decade's artistic collaboration – and spotlight those who did not receive a spotlight at the time.

"Institutions sometimes neglected to shine a light on the right artists because they lacked the expected background," he states.

This venture itself operates on a different strategy, eschewing traditional advertising in favour of integrated partnerships. "We ask, what can we do together? Is it an event, a series? The magazine is one component of a greater ecosystem."

A Testament to Resilience

Currently, Enninful operates as one of the world's most influential creative power brokers. His journey, he feels, is a testament to the power of pursuing your passions.

How would the younger Edward make of the his current self? He laughs heartily. "He’d be in shock, but he’d be impressed. Back then I was sceptical of institutions. I didn't think institutions like Tate were a place for someone like me."

He pauses. "Gratitude is key. We fled, we left our homeland. I came close to losing 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 made up my mind to do something."