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 path of a young Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the city's vibrant 1990s cultural landscape, moving from model to stylist and, by the age of 18, becoming the style editor of the iconic i-D.

"It was the peak of the YBA movement – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I understood we’d be kindred spirits. We all mixed across disciplines. Friday bled into Saturday into Sunday. I long for that energy."

If Enninful sounds sentimental, he is in good company. Recently, a longing look back of the 1990s has grown intense. However over the last thirty years, Enninful feels a profound shift. "I believe, we’re more divided now than we were in the 90s," he remarks. "It’s not even this country – it’s a global phenomenon."

A Perceived Regression

This regression is difficult to overlook: the resurgence of populist movements, the reaction against progressive values, and the reinforcement of Eurocentric beauty standards. In place of the optimism of the late 90s, today a more divisive political personality looms as a potential leader. Furthermore, the British flag, once an emblem of national pride, has become contentious again.

For Enninful, the antidote has consistently been to champion culture in all its multifaceted forms. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a broad spectrum of influential figures from art.

"Individuals with a platform should wield it," he says, referring to those publishing choices. "People often debate about immigration; I could not have had this life if Britain were not a welcoming country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I cherished. I hope this phase will fade."

A New Wave of Consciousness

He draws solace in the younger generation: "They are far more conscious than we were. They discuss unconscious bias – I was not even aware what that was."

Those early experiences would forge a groundbreaking career built on boldness and inclusivity. Enninful set a precedent as the first male, first black man, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His tenure featured diverse covers showcasing models of colour, plus-sized women, older individuals, and individuals from varied communities. Significantly, sales rose.

"To overlook 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 established his creative company EE72 and its flagship publication, 72, his key endeavour since moving on from his former post. He expresses a desire to continue being a "innovator".

"I constantly interrogate the established norms. I was brought up 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 very shy. 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."

In contrast to the popular image of industry figures as loud and highly strung, Enninful is calm and radiates serenity. His path has included its share of challenges, including openly discussed battles with depression and substance use.

He has also faced serious health issues, having undergone several surgeries on his eyes, leading to limited vision. "I was in such a difficult period for two years, not working, terrified I was going to lose my sight. It’s comparable to PTSD; you just live in fear 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 restrict myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This refusal to fit into a box has inspired him away from the world that made his name. He is now putting together a significant 1990s exhibition at Tate Britain, bringing together work by a group of defining artists and photographers from the era. The show, he notes, aims to explore the decade's interdisciplinary energy – and spotlight those who did not receive adequate attention at the time.

"The establishment didn't always promote the most relevant talents because they lacked the right pedigree," he comments.

This project itself functions with a novel approach, eschewing traditional advertising in favour of integrated partnerships. "We ask, what can we do together? Is it an experience, a series? The magazine is part of a larger creative platform."

A Testament to Resilience

Today, Enninful is regarded as one of the world's most respected cultural influencers. His journey, he states, is a proof to the power of pursuing your passions.

How would the younger Edward think of the his current self? He laughs heartily. "It would be a surprise, but he’d be pleased. In those days I was anti-establishment. I never imagined institutions like Tate were within my reach."

He pauses. "I never take anything for granted. We were displaced, we fled our country. I nearly lost my vision. So fear isn't an option. People have doubted me my entire life. But I am unstoppable once I’ve set my intention to do something."