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

A chance encounter while riding the tube in 1988 changed forever the path of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the London's buzzing 1990s artistic milieu, moving from mannequin to stylist and, before turning twenty, becoming the style editor of the publication i-D.

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

While Enninful may seem sentimental, he is not the only one. In recent times, a fond idealisation of the 1990s has grown intense. But in the intervening decades, Enninful perceives a noticeable regression. "I believe, we’re more divided now than we were in the 90s," he observes. "This isn't just this country – it’s everywhere."

A Perceived Regression

This shift is hard to ignore: the resurgence of populist movements, the pushback against social awareness, and the reinforcement of narrow beauty standards. Replacing the hope of the Blair era, today a different political force stands as a possible leader. Furthermore, the British flag, once an emblem of national pride, has become contentious again.

For Enninful, the response has consistently been to champion 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 prominent faces from literature.

"People with a voice should wield it," he comments, explaining those editorial decisions. "People often debate about immigration; I wouldn't be here if Britain hadn't been a lenient country, if it did not offer my family a refuge and an opportunity. That’s the Britain I always loved. I believe this moment will pass."

A New Wave of Consciousness

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

His formative years would shape a groundbreaking career marked by boldness and representation. Enninful broke barriers as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His time featured diverse covers showcasing models of colour, plus-sized women, an octogenarian, and people from varied communities. Significantly, sales grew.

"Ignoring vast segments of the population, it’s not just that you’re excluding people – it’s a poor strategy," he explains.

Launching a Creative Venture

He has recently launched his creative company EE72 and its flagship publication, 72, his key endeavour since leaving his previous role. He states his aim to continue being a "change-maker".

"I’ve always questioned the established norms. I was brought up in a place where the majority was Black – the doctors, the attorneys, the president. Then we came to England, penniless, and I found myself on the margins. I was incredibly timid. My teachers predicted I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … this duality gave me a sense of being on the inside and the outside."

Contrary to the caricature of fashion editors as brash and highly strung, Enninful is softly spoken and radiates serenity. His journey has not been immune to hardship, including well-documented periods of mental health and addiction.

He has also undergone serious health challenges, having undergone several surgeries on his eyes, leading to limited vision. "I endured such a dark place for two years, not working, terrified I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I thought, if this ever ends, I’m just going to do everything that I was so fearful to do. I’m not going to confine myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This drive to be defined narrowly has propelled him away from the world that built his career. He is now putting together a seminal 1990s exhibition at Tate Britain, bringing together work by a roster of pivotal artists and photographers from the era. The show, he explains, aims to explore the decade's interdisciplinary energy – and give platform to those who lacked due recognition at the time.

"The establishment didn't always shine a light on the most relevant talents because they lacked the traditional credentials," he states.

This venture itself uses a unique business model, forgoing traditional advertising in favour of integrated partnerships. "The question is, what can we achieve in partnership? Is it an experience, a podcast? The magazine is part of a broader vision."

An Unstoppable Drive

Currently, Enninful is regarded as one of the world's most respected cultural influencers. His journey, he feels, is a demonstration to the power of defying expectations.

What would the Enninful of that era react to the man he has become? He chuckles. "It would be a surprise, but he’d be proud. At that time I was sceptical of institutions. I would not have believed institutions like Tate were necessarily for me."

He reflects. "Nothing is assumed. We fled, we fled our country. I came close to losing my vision. So fear is not a factor. People have doubted me my entire life. But no obstacle is too great once I’ve decided to do something."