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

A serendipitous meeting on the London Underground in 1988 altered the path of a teenage Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the London's vibrant 1990s cultural landscape, moving from mannequin to stylist and, while still a teenager, becoming the style editor of i-D magazine.

"That era was the zenith 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 great friends. We all socialised across disciplines. Friday became Saturday into Sunday. I yearn for that energy."

Although Enninful appears sentimental, he is in good company. In recent times, a wistful romanticisation of the 1990s has grown intense. But over the last thirty years, Enninful feels a noticeable regression. "In my view, we’re less tolerant now than we were in the 90s," he says. "The issue extends beyond this country – it’s a global phenomenon."

A Cultural Backslide

This regression is increasingly evident: the growth of nationalist groups, the backlash against so-called "wokeness", and the return of Eurocentric beauty standards. Replacing the optimism of the Blair era, currently a different political force looms as a potential leader. Furthermore, the British flag, once an emblem of cultural optimism, has become contentious again.

For Enninful, the response has always been to champion culture in all its multifaceted forms. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a wide range of prominent faces from literature.

"Individuals with a platform should employ it," he comments, explaining those publishing choices. "People often debate about immigration; I would not be in this position if Britain hadn't been a welcoming country, if it did not offer my family a refuge and an education. That’s the Britain I believed in. I hope this moment will pass."

Hope in the Next Generation

He draws solace in the youth of today: "They’re much more aware than we were. They analyse implicit prejudice – I had no concept what that was."

Those early experiences would forge a groundbreaking career characterised by boldness and inclusivity. Enninful broke barriers as the first man, first black man, first openly gay person, and first disabled Black gay man to lead at British Vogue. His leadership featured diverse covers showcasing models of colour, plus-sized women, an octogenarian, and individuals from varied communities. Importantly, sales increased.

"To overlook large portions of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he states.

A New Chapter as a 'Disruptor'

He has recently launched his new venture EE72 and its accompanying magazine, 72, his key endeavour since moving on from his former post. He states his aim to continue being a "change-maker".

"My nature is to challenge the conventional wisdom. I was raised in a place where Black professionals were the norm – the doctors, the lawyers, the leader. Then we arrived in England, with nothing, and I found myself on the margins. I was incredibly timid. My teachers said I’d never amount to anything. Me and my brothers were stopped by the police the suspicion laws … all that gave me a sense of being on the inside and the outside."

Contrary to the stereotype of industry figures as brash and highly strung, Enninful is softly spoken and radiates serenity. His life has not been immune to adversity, including well-documented battles with mental health and addiction.

He has also faced serious health challenges, having had multiple operations on his eyes, resulting in limited vision. "I was in such a difficult period for two years, away from work, fearing I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I vowed, if this ever ends, 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 refusal to fit into a box has led him away from the industry that built his career. He is now organising a major 1990s exhibition at Tate Britain, showcasing work by a host of defining artists and photographers from the era. The show, he says, aims to capture the decade's interdisciplinary energy – and highlight those who lacked adequate attention at the time.

"Institutions sometimes neglected to celebrate the right artists because they did not have the right pedigree," he observes.

This project itself operates on a novel business model, eschewing traditional advertising in favour of partnership-based projects. "Our approach is, what can we do together? Is it an experience, a series? The magazine is one component of a broader vision."

Looking Forward Without Fear

Currently, Enninful operates as one of the world's most powerful creative power brokers. His path, he believes, is a demonstration to the power of defying expectations.

How would the younger Edward react to the Edward of today? He laughs heartily. "He would be astonished, but he’d be proud. Back then I was a rebel. I never imagined institutions like Tate were within my reach."

He reflects. "Nothing is assumed. We fled, we fled our country. I nearly lost my vision. So there is no room for fear. People have underestimated me my entire life. But I am unstoppable once I’ve decided to do something."