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

A serendipitous meeting on the London Underground in 1988 altered the trajectory of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the London's buzzing 1990s cultural landscape, moving from model to stylist and, before turning twenty, becoming the style editor of the publication i-D.

"That era was the peak of the Britart scene – 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 close. We all hung out across disciplines. Friday bled into Saturday into Sunday. I miss that rawness."

Although Enninful appears wistful, he is far from alone. Lately, a wistful romanticisation of the 1990s has grown intense. But 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 Cultural Backslide

This regression is increasingly evident: the resurgence of far-right politics, the reaction against progressive values, and the reassertion of narrow beauty standards. Where once there was the hope of the Blair era, currently a different political force looms as a potential leader. Even, the Union Jack, once an badge of Cool Britannia, has returned as a polarising symbol.

According to Enninful, the solution has always been to promote culture in all its diversity. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a wide range of influential figures from art.

"People with a voice should wield it," he comments, explaining those editorial decisions. "People often debate about immigration; I would not be in this position if Britain was not a open country, if it did not offer my family a refuge and an education. That’s the Britain I always loved. I hope this period will pass."

The Younger Generation's Awareness

He takes comfort in the next generation: "They are far more conscious than we were. They analyse implicit prejudice – I had no concept what that was."

The beginnings of his career would shape a trailblazing career marked by boldness and diversity. Enninful made history as the first male, first Black editor, first gay man, and first disabled Black gay man to lead at British Vogue. His time featured landmark covers showcasing models of colour, plus-sized women, an octogenarian, and people from all walks of life. Importantly, sales rose.

"Ignoring huge sections of the population, it’s more than that you’re failing to represent – it’s a poor strategy," he states.

Beyond the Magazine World

He has recently launched his new venture EE72 and its accompanying magazine, 72, his first major project since leaving his previous role. He expresses a desire to continue being a "innovator".

"I constantly interrogate the conventional wisdom. I was brought up in a place where everybody was black – the physicians, the attorneys, the president. Then we arrived in England, with nothing, and I became the 'other'. I was incredibly timid. My teachers said I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … those experiences gave me a sense of being on the inside and the outside."

In contrast to the popular image of industry figures as loud and temperamental, Enninful is calm and projects peace. His journey has included its share of adversity, including publicly shared periods of mental health and addiction.

He has also endured serious health challenges, having undergone several surgeries on his eyes, leading to partial sight. "I was in such a time of fear for two years, away from work, fearing I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I prayed, if this ever ends, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to confine myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This determination to be typecast has inspired him outside the world that established him. He is now curating a significant 1990s exhibition at Tate Britain, featuring work by a roster of defining artists and photographers from the era. The show, he says, aims to evoke the decade's artistic collaboration – and spotlight those who weren't given due recognition at the time.

"The establishment often failed to shine a light on the right artists because they did not have the expected background," he states.

This venture itself operates on a unique approach, eschewing traditional advertising in favour of partnership-based projects. "We ask, what can we achieve in partnership? Is it an experience, a series? The magazine is part of a larger creative platform."

Looking Forward Without Fear

Today, Enninful operates as one of the world's most powerful creative power brokers. His story, he states, is a testament to the power of pursuing your passions.

How would the younger Edward think of the his current self? He laughs heartily. "He’d be in shock, but he’d be proud. In those days I was anti-establishment. I would not have believed institutions like Tate were necessarily for me."

He adds. "Gratitude is key. We fled, we left our homeland. I nearly lost my vision. So fear is not a factor. People have underestimated me my whole career. But I am unstoppable once I’ve made up my mind to do something."