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

A chance encounter while riding the tube in 1988 transformed the course of a young Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the city's electric 1990s cultural landscape, progressing from model to stylist and, by the age of 18, becoming the fashion director of the iconic i-D.

"That era was the peak of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I understood we’d be great friends. We all mixed across disciplines. Friday became Saturday into Sunday. I miss that spontaneity."

If Enninful sounds nostalgic, he is in good company. Recently, a wistful romanticisation of the 1990s has become pervasive. However over the last thirty years, Enninful perceives a noticeable regression. "In my view, we’re less tolerant now than we were in the 90s," he observes. "It’s not even this country – it’s a global phenomenon."

Shifting Attitudes

This shift is increasingly evident: the rise of far-right politics, the pushback against progressive values, and the return of traditional beauty standards. Replacing the hope of the previous decade, currently a different political personality stands as a possible leader. Even, the British flag, once an emblem of cultural optimism, has become contentious again.

For Enninful, the response has consistently been to promote culture in all its multifaceted forms. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a diverse array of influential figures from literature.

"People with a voice should wield it," he asserts, explaining those editorial decisions. "Everyone talks about immigration; I could not have had this life if Britain hadn't been a welcoming country, if it hadn't given my family a home and an opportunity. That’s the Britain I cherished. I hope this period will fade."

The Younger Generation's Awareness

He draws solace in the next generation: "They are far more conscious than we were. They talk about implicit prejudice – I had no concept what that was."

The beginnings of his career would shape a pioneering career marked by fearlessness and representation. Enninful set a precedent as the first man, first black man, first gay man, and first disabled Black gay man to take the helm at British Vogue. His leadership featured historic front pages showcasing Black models, curvy models, older individuals, and people from all walks of life. Importantly, sales increased.

"Ignoring large portions of the population, it’s not just that you’re excluding people – it’s bad for business," he emphasises.

A New Chapter as a 'Disruptor'

He has since founded his creative company EE72 and its accompanying magazine, 72, his first major project since departing his previous role. He states his aim 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 doctors, the lawyers, the president. Then we arrived in England, with nothing, and I found myself on the margins. I was very shy. My teachers predicted I’d never amount to anything. Me and my brothers were harassed under the Sus laws … all that gave me a dual identity both an insider and outsider."

In contrast to the stereotype of industry figures as loud and temperamental, Enninful is softly spoken and exudes calm. His life has not been immune to adversity, including publicly shared struggles with depression and addiction.

He has also faced significant health issues, having undergone several surgeries on his eyes, resulting in partial sight. "I was in such a time of fear for two years, away from work, fearing I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I prayed, if this ever passes, I’m just going to do everything that I was so fearful to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

A Foray into Curation

This refusal to fit into a box has inspired him beyond the world that made his name. He is now putting together a seminal 1990s exhibition at Tate Britain, showcasing work by a roster of pivotal artists and photographers from the era. The show, he notes, aims to capture the decade's interdisciplinary energy – and spotlight those who lacked a spotlight at the time.

"Galleries sometimes neglected to shine a light on the right artists because they weren't of the right pedigree," he comments.

This project itself uses a different business model, forgoing traditional advertising in favour of partnership-based projects. "The question is, what can we do together? Is it an event, a series? The magazine is part of a larger creative platform."

A Testament to Resilience

Now, Enninful is regarded as one of the world's most respected creative power brokers. His journey, he feels, is a demonstration to the power of following your instincts.

How would the younger Edward make of the his current self? He chuckles. "It would be a surprise, but he’d be proud. In those days I was anti-establishment. I didn't think institutions like Tate were necessarily for me."

He adds. "Nothing is assumed. We were displaced, we fled our country. I nearly lost my vision. So fear is not a factor. People have counted me out my entire life. But I am unstoppable once I’ve decided to do something."