Edward Enninful on Modern Britain: 'Britain Feels Less Tolerant Now' Than We Were Decades Ago.

A serendipitous meeting during a tube journey in 1988 changed forever the path of a teenage Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the city's buzzing 1990s cultural landscape, progressing from model to stylist and, before turning twenty, becoming the style editor of i-D magazine.

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

If Enninful sounds sentimental, he is far from alone. In recent times, a wistful romanticisation of the 1990s has reached fever pitch. However over the last thirty years, Enninful perceives a noticeable regression. "I believe, we’re less tolerant now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s a global phenomenon."

A Cultural Backslide

This shift is difficult to overlook: the rise of nationalist groups, the pushback against progressive values, and the reassertion of traditional beauty standards. Where once there was the hope of the late 90s, today a different political force looms as a potential leader. Even, the British flag, once an symbol of Cool Britannia, has sparked debate once more.

In Enninful's view, the solution has long been to promote culture in all its multifaceted forms. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a wide range of influential figures from music.

"Individuals with a platform should use it," he says, referring to those editorial decisions. "There is much discussion about immigration; I wouldn't be here if Britain were not a open country, if it did not offer my family a refuge and an education. That’s the Britain I cherished. I believe this period will end."

Hope in the Next Generation

He finds hope in the youth of today: "They’re much more aware than we were. They analyse unconscious bias – I was not even aware what that was."

His formative years would define a groundbreaking career characterised by boldness and representation. Enninful broke barriers as the first man, first black man, first gay man, and first disabled gay man of colour to lead at British Vogue. His leadership featured diverse covers showcasing people of diverse backgrounds, curvy models, an octogenarian, and people from all walks of life. Importantly, sales grew.

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

A New Chapter as a 'Disruptor'

He has recently launched his new venture EE72 and its flagship publication, 72, his key endeavour since leaving his previous role. He expresses a desire to continue being a "disruptor".

"I’ve always questioned the conventional wisdom. I was raised in a place where Black professionals were the norm – the physicians, the attorneys, the leader. Then we came to England, without funds, and I found myself on the margins. I was incredibly timid. My teachers predicted I’d never amount to anything. Me and my brothers were subject to police stops the Sus laws … all that gave me a dual identity on the inside and the outside."

Contrary to the stereotype of fashion editors as loud and temperamental, Enninful is calm and projects peace. His path has involved adversity, including openly discussed periods of depression and addiction.

He has also faced significant health challenges, having had multiple operations on his eyes, resulting in limited vision. "I was in such a dark place for two years, away from work, fearing I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I prayed, if this ever is over, I’m just going to pursue all 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 beyond the industry that made his name. He is now curating a significant 1990s exhibition at Tate Britain, bringing together work by a roster of defining artists and photographers from the era. The show, he notes, aims to explore the decade's creative cross-pollination – and give platform to those who did not receive a spotlight at the time.

"Galleries sometimes neglected to shine a light on the truly innovative creators because they weren't of the right pedigree," he comments.

This venture itself operates on a unique strategy, forgoing traditional advertising in favour of creative collaborations. "Our approach is, what can we achieve in partnership? Is it an event, a series? The magazine is a piece within a broader vision."

A Testament to Resilience

Currently, Enninful stands as one of the world's most influential industry leaders. His path, he believes, is a proof to the power of following your instincts.

How would the Enninful of that era react to the Edward of today? He smiles. "He would be astonished, but he’d be pleased. In those days I was anti-establishment. I never imagined institutions like Tate were within my reach."

He adds. "Nothing is assumed. We lost our home, we left our homeland. I almost lost my vision. So fear isn't an option. People have underestimated me my entire life. But no obstacle is too great once I’ve set my intention to do something."