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

A chance encounter on the London Underground in 1988 changed forever the trajectory of a teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the London's electric 1990s artistic milieu, moving from model to stylist and, before turning twenty, becoming the fashion director of the iconic i-D.

"That time was the zenith of the Britart scene – Jay Jopling, Tracey Emin. I met 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 became Saturday into Sunday. I yearn for that energy."

Although Enninful appears nostalgic, he is in good company. Recently, a fond idealisation of the 1990s has grown intense. But since that time, Enninful feels a noticeable regression. "I believe, we’re less accepting now than we were in the 90s," he says. "It’s not even this country – it’s a global phenomenon."

A Cultural Backslide

This shift is difficult to overlook: the growth of populist movements, the reaction against so-called "wokeness", and the reassertion of Eurocentric beauty standards. In place of the hope of the Blair era, currently a different political force appears as a potential leader. Even, the British flag, once an emblem of national pride, has sparked debate once more.

For Enninful, the solution has always been to champion culture in all its multifaceted forms. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a diverse array of cultural icons from literature.

"Those in a position of influence should wield it," he asserts, discussing those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain hadn't been a open country, if it hadn't given my family a refuge and an education. That’s the Britain I believed in. I trust this phase will fade."

A New Wave of Consciousness

He finds hope in the younger generation: "Their awareness is greater than we were. They discuss unconscious bias – I had no concept what that was."

His formative years would forge a trailblazing career built on fearlessness and inclusivity. Enninful set a precedent as the first male, first Black editor, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His leadership featured diverse covers showcasing models of colour, curvy models, older individuals, and people from varied communities. Critically, sales grew.

"When you ignore vast segments of the population, it’s more than that you’re excluding people – it’s commercially unwise," he emphasises.

A New Chapter as a 'Disruptor'

He has since founded his creative company EE72 and its flagship publication, 72, his key endeavour since departing his previous role. He says he wants to continue being a "disruptor".

"My nature is to challenge the established norms. I was raised in a place where Black professionals were the norm – the physicians, the lawyers, the leader. Then we came to England, penniless, and I was a minority. I was very shy. My teachers said I’d have no future. Me and my brothers were subject to police stops the suspicion laws … all that gave me a sense of being on the inside and the outside."

Defying the stereotype of fashion editors as brash and temperamental, Enninful is calm and exudes calm. His path has involved hardship, including publicly shared periods of depression and substance use.

He has also undergone significant health issues, having undergone several surgeries on his eyes, resulting in partial sight. "I endured such a dark place 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 vowed, if this ever passes, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to restrict myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This determination to fit into a box has propelled him outside the realm that made his name. He is now putting together a seminal 1990s exhibition at Tate Britain, showcasing work by a roster of defining artists and photographers from the era. The show, he notes, aims to evoke the decade's interdisciplinary energy – and give platform to those who weren't given a spotlight at the time.

"Galleries didn't always shine a light on the most relevant talents because they weren't of the traditional credentials," he observes.

This project itself functions with a novel approach, rejecting traditional advertising in favour of partnership-based projects. "Our approach is, what can we do together? Is it an experience, a podcast? The magazine is part of a larger creative platform."

A Testament to Resilience

Now, Enninful operates as one of the world's most influential creative power brokers. His story, he states, is a testament to the power of following your instincts.

How would the Enninful of that era react to the man he has become? He smiles. "It would be a surprise, but he’d be proud. Back then I was anti-establishment. I would not have believed institutions like Tate were within my reach."

He adds. "Nothing is assumed. We fled, we left our homeland. I almost lost my vision. So there is no room for fear. People have counted me out my entire life. But nothing can stop me once I’ve decided to do something."