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

A serendipitous meeting while riding the tube in 1988 transformed the path of a young Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the capital's vibrant 1990s artistic milieu, moving from model to stylist and, by the age of 18, becoming the style editor of the publication i-D.

"It was the peak of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I understood we’d be kindred spirits. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I long for that spontaneity."

While Enninful may seem sentimental, he is not the only one. Lately, a fond idealisation of the 1990s has reached fever pitch. However over the last thirty years, Enninful perceives a significant change. "I feel, we’re more divided now than we were in the 90s," he observes. "The issue extends beyond this country – it’s a global phenomenon."

Shifting Attitudes

This regression is increasingly evident: the rise of far-right politics, the reaction against so-called "wokeness", and the reassertion of Eurocentric beauty standards. In place of the hope of the previous decade, today a different political personality appears as a possible leader. Furthermore, the British flag, once an emblem of Cool Britannia, has sparked debate once more.

For Enninful, the antidote has long been to celebrate culture in all its variety. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a diverse array of prominent faces from literature.

"Those in a position of influence should wield it," he says, discussing those publishing choices. "People often debate about immigration; I wouldn't be here if Britain were not a lenient country, if it did not offer my family a refuge and an education. That’s the Britain I cherished. I hope this moment will fade."

A New Wave of Consciousness

He takes comfort in the younger generation: "Their awareness is greater than we were. They talk about implicit prejudice – I didn't even know what that was."

His formative years would define a trailblazing career built on boldness and representation. Enninful made history as the first man, first Black editor, first gay man, and first disabled gay man of colour to lead at British Vogue. His time featured landmark covers showcasing models of colour, curvy models, an octogenarian, and people from all walks of life. Importantly, sales increased.

"When you ignore large portions of the population, it’s not just that you’re excluding people – it’s bad for business," he explains.

A New Chapter as a 'Disruptor'

He has since founded his agency EE72 and its flagship publication, 72, his key endeavour since moving on from his previous role. He states his aim to continue being a "innovator".

"I’ve always questioned the established norms. I was brought up in a place where everybody was black – the physicians, the attorneys, the leader. Then we arrived in England, without funds, and I became the 'other'. I was very shy. My teachers declared I’d have no future. Me and my brothers were harassed under the suspicion laws … this duality gave me a unique perspective on the inside and the outside."

In contrast to the stereotype of industry figures as loud and temperamental, Enninful is softly spoken and projects peace. His path has not been immune to adversity, including openly discussed battles with depression and substance use.

He has also faced significant health issues, having undergone several surgeries on his eyes, resulting in limited vision. "I experienced such a difficult period for two years, away from work, anxious I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I thought, if this ever ends, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to confine myself to just being an editor or a fashion person."

A Foray into Curation

This determination to be typecast has inspired him away from the world that established him. He is now organising a seminal 1990s exhibition at Tate Britain, bringing together work by a group of influential artists and photographers from the era. The show, he says, aims to explore the decade's artistic collaboration – and give platform to those who lacked due recognition at the time.

"Institutions sometimes neglected to shine a light on the most relevant talents because they weren't of the expected background," he comments.

This venture itself operates on a different strategy, forgoing traditional advertising in favour of creative collaborations. "The question is, what can we create collaboratively? Is it an experience, a series? The magazine is a piece within a larger creative platform."

An Unstoppable Drive

Today, Enninful stands as one of the world's most powerful cultural influencers. His path, he feels, is a testament to the power of pursuing your passions.

What would the younger Edward think of the his current self? He chuckles. "He would be astonished, but he’d be pleased. Back then I was a rebel. I would not have believed institutions like Tate were a place for someone like me."

He reflects. "Nothing is assumed. We were displaced, we fled our country. I came close to losing my vision. So fear isn't an option. People have underestimated me my entire life. But I am unstoppable once I’ve set my intention to do something."