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

A chance encounter on the London Underground in 1988 transformed the path of a young Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the capital's electric 1990s creative scene, moving from model to stylist and, before turning twenty, becoming the fashion director of the iconic i-D.

"It was the height of the Young British Artists – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I knew we’d be kindred spirits. We all socialised across disciplines. Friday bled into Saturday into Sunday. I miss that energy."

If Enninful sounds wistful, he is not the only one. Lately, a wistful romanticisation of the 1990s has become pervasive. However over the last thirty years, Enninful believes a profound shift. "In my view, 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 shift is difficult to overlook: the resurgence of populist movements, the pushback against progressive values, and the reinforcement of Eurocentric beauty standards. Replacing the hope of the late 90s, now a more divisive political force looms as a potential leader. Even, the British flag, once an badge of national pride, has returned as a polarising symbol.

For Enninful, the response has always been to promote culture in all its multifaceted forms. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a wide range of influential figures from art.

"People with a voice should wield it," he asserts, discussing those publishing choices. "There is much discussion about immigration; I could not have had this life if Britain were not a lenient country, if it did not offer my family a refuge and an education. That’s the Britain I believed in. I believe this phase will pass."

A New Wave of Consciousness

He draws solace in the younger generation: "They are far more conscious than we were. They talk about unconscious bias – I had no concept what that was."

The beginnings of his career would shape a trailblazing career marked by fearlessness and diversity. Enninful made history as the first man, first Black editor, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His tenure featured diverse covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and individuals from all walks of life. Importantly, sales increased.

"To overlook vast segments of the population, it’s not just that you’re excluding people – it’s commercially unwise," he states.

Launching a Creative Venture

He has recently launched his new venture EE72 and its flagship publication, 72, his first major project since departing his previous role. He expresses a desire to continue being a "change-maker".

"I constantly interrogate the status quo. I was born and raised in a place where everybody was black – the doctors, the lawyers, the president. Then we arrived in England, with nothing, and I became the 'other'. I was very shy. My teachers declared I’d have no future. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a sense of being on the inside and the outside."

Defying the popular image of industry figures as loud and temperamental, Enninful is softly spoken and projects peace. His journey has included its share of adversity, including openly discussed struggles with mental health and substance use.

He has also endured serious health challenges, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I endured such a difficult period for two years, away from work, terrified I was going to go blind. It’s comparable to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever passes, I’m just going to pursue all that I was so scared to do. I’m not going to limit myself to just being an editor or a figure in fashion."

A Foray into Curation

This refusal to be typecast has inspired him outside the industry that established him. He is now putting together a significant 1990s exhibition at Tate Britain, featuring work by a group of defining artists and photographers from the era. The show, he explains, aims to evoke the decade's creative cross-pollination – and spotlight those who did not receive a spotlight at the time.

"Galleries often failed to shine a light on the right artists because they did not have the expected background," he observes.

This project itself functions with a different business model, rejecting traditional advertising in favour of integrated partnerships. "Our approach is, what can we achieve in partnership? Is it an experience, a series? The magazine is a piece within a broader vision."

Looking Forward Without Fear

Now, Enninful stands as one of the world's most powerful creative power brokers. His story, he feels, is a proof to the power of defying expectations.

What would the younger Edward react to the man he has become? He laughs heartily. "He’d be in shock, but he’d be pleased. In those days I was anti-establishment. I didn't think institutions like Tate were a place for someone like me."

He adds. "Nothing is assumed. We were displaced, we left our homeland. I almost lost my vision. So there is no room for fear. People have counted me out my whole career. But no obstacle is too great once I’ve decided to do something."