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

A serendipitous meeting while riding the tube in 1988 changed forever the trajectory of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the city's electric 1990s artistic milieu, evolving from mannequin to stylist and, before turning twenty, becoming the style editor of the iconic i-D.

"That time was the peak of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I felt we’d be great friends. We all hung out across disciplines. Friday bled into Saturday into Sunday. I miss that spontaneity."

While Enninful may seem sentimental, he is in good company. In recent times, a fond idealisation of the 1990s has become pervasive. But over the last thirty years, Enninful perceives a profound shift. "I feel, we’re less accepting now than we were in the 90s," he says. "This isn't just this country – it’s a global phenomenon."

A Cultural Backslide

This change is increasingly evident: the resurgence of far-right politics, the backlash against progressive values, and the reinforcement of Eurocentric beauty standards. Replacing the optimism of the previous decade, currently a more divisive political personality looms as a possible leader. Even, the British flag, once an symbol of cultural optimism, has become contentious again.

According to Enninful, the response has always been to champion culture in all its diversity. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a wide range of prominent faces from art.

"Those in a position of influence should wield it," he asserts, discussing those editorial decisions. "People often debate about immigration; I would not be in this position if Britain was not a open country, if it refused my family a home and an opportunity. That’s the Britain I always loved. I hope this period will end."

Hope in the Next Generation

He draws solace in the next generation: "They’re much more aware than we were. They talk about systemic issues – I had no concept what that was."

The beginnings of his career would shape a groundbreaking career marked by boldness and diversity. Enninful set a precedent as the first male, first Black editor, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His leadership featured historic front pages showcasing Black models, curvy models, older individuals, and individuals from all walks of life. Critically, sales rose.

"To overlook huge sections of the population, it’s not just that you’re failing to represent – it’s a poor strategy," he states.

Launching a Creative Venture

He has since founded his agency EE72 and its accompanying magazine, 72, his premier initiative since moving on from his former post. He expresses a desire to continue being a "disruptor".

"My nature is to challenge the conventional wisdom. I was brought up in a place where Black professionals were the norm – the physicians, the lawyers, the president. Then we came to England, penniless, and I became the 'other'. I was very shy. My teachers declared I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … this duality gave me a dual identity both an insider and outsider."

Defying the popular image of industry figures as brash and highly strung, Enninful is softly spoken and radiates serenity. His journey has involved challenges, including well-documented struggles with depression and addiction.

He has also undergone significant health issues, having had multiple operations on his eyes, now leaving him with partial sight. "I was in such a dark place for two years, not working, fearing I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I vowed, if this ever is over, 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 figure in fashion."

A Foray into Curation

This drive to be typecast has led him away from the realm that established him. He is now putting together a major 1990s exhibition at Tate Britain, bringing together work by a roster of influential artists and photographers from the era. The show, he explains, aims to capture the decade's creative cross-pollination – and give platform to those who weren't given adequate attention at the time.

"The establishment sometimes neglected to shine a light on the truly innovative creators because they lacked the expected background," he states.

This project itself functions with a unique business model, rejecting traditional advertising in favour of partnership-based projects. "Our approach is, what can we create collaboratively? Is it an experience, a series? The magazine is part of a greater ecosystem."

A Testament to Resilience

Today, Enninful is regarded as one of the world's most respected industry leaders. His path, he states, is a demonstration to the power of pursuing your passions.

What would the younger Edward react to the Edward of today? He chuckles. "It would be a surprise, but he’d be impressed. At that time I was anti-establishment. I would not have believed institutions like Tate were a place for someone like me."

He pauses. "Gratitude is key. We were displaced, we fled our country. I came close to losing my vision. So fear isn't an option. People have doubted me my whole career. But no obstacle is too great once I’ve decided to do something."