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

A chance encounter during a tube journey in 1988 altered the course of a young Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the city's buzzing 1990s creative scene, evolving from model to stylist and, while still a teenager, becoming the fashion director of the publication i-D.

"That time was the zenith of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I knew we’d be great friends. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I miss that spontaneity."

If Enninful sounds nostalgic, he is not the only one. Recently, a fond idealisation of the 1990s has grown intense. Yet over the last thirty years, Enninful perceives a noticeable regression. "In my view, we’re more divided now than we were in the 90s," he says. "The issue extends beyond this country – it’s a global phenomenon."

Shifting Attitudes

This shift is difficult to overlook: the growth of nationalist groups, the reaction against social awareness, and the return of Eurocentric beauty standards. In place of the hope of the late 90s, now a different political personality stands as a possible leader. Even, the Union Jack, once an badge of Cool Britannia, has returned as a polarising symbol.

For Enninful, the response has always been to celebrate culture in all its variety. 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 broad spectrum of cultural icons from politics.

"People with a voice should wield it," he comments, explaining those publishing choices. "There is much discussion about immigration; I would not be in this position if Britain was not a open country, if it hadn't given my family a home and an opportunity. That’s the Britain I believed in. I hope this phase will pass."

The Younger Generation's Awareness

He takes comfort in the youth of today: "They are far more conscious than we were. They talk about systemic issues – I was not even aware what that was."

The beginnings of his career would shape a pioneering career built on boldness and representation. Enninful set a precedent as the first male, first Black editor, first openly gay person, and first disabled Black gay man to lead at British Vogue. His leadership featured diverse covers showcasing people of diverse backgrounds, curvy models, older individuals, and people from varied communities. Significantly, sales rose.

"Ignoring vast segments of the population, it’s not just that you’re not being inclusive – it’s commercially unwise," he explains.

A New Chapter as a 'Disruptor'

He has recently launched his agency EE72 and its flagship publication, 72, his first major project since departing his former post. He expresses a desire to continue being a "innovator".

"My nature is to challenge the established norms. I was born and raised in a place where Black professionals were the norm – the doctors, the lawyers, the leader. Then we came to England, without funds, and I was a minority. I was incredibly timid. My teachers declared I’d have no future. Me and my brothers were stopped by the police the suspicion laws … those experiences gave me a unique perspective between worlds."

Defying the caricature of industry figures as brash and highly strung, Enninful is calm and exudes calm. His journey has involved hardship, including publicly shared battles with mental health and substance use.

He has also undergone serious health challenges, 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, terrified I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I prayed, if this ever passes, I’m just going to pursue all that I was so scared to do. I’m not going to confine myself to just being an editor or a fashion person."

Curating a Cultural Era

This drive to be typecast has led him away from the realm that built his career. He is now curating a seminal 1990s exhibition at Tate Britain, showcasing work by a roster of defining artists and photographers from the era. The show, he explains, aims to capture the decade's artistic collaboration – and highlight those who weren't given adequate attention at the time.

"Galleries sometimes neglected to celebrate the truly innovative creators because they lacked the expected background," he states.

The magazine 72 itself functions with a novel strategy, eschewing traditional advertising in favour of creative collaborations. "Our approach is, what can we achieve in partnership? Is it an experience, a series? The magazine is part of a broader vision."

A Testament to Resilience

Now, Enninful is regarded as one of the world's most respected creative power brokers. His path, he believes, is a proof to the power of defying expectations.

How would the Enninful of that era think of the Edward of today? He chuckles. "He’d be in shock, but he’d be proud. Back then I was a rebel. I would not have believed institutions like Tate were within my reach."

He pauses. "I never take anything for granted. We lost our home, we left our homeland. I almost lost my vision. So fear isn't an option. People have doubted me my whole career. But nothing can stop me once I’ve made up my mind to do something."