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

A serendipitous meeting during a tube journey in 1988 altered the trajectory of a teenage Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the London's buzzing 1990s artistic milieu, evolving from mannequin to stylist and, by the age of 18, becoming the fashion director of the iconic i-D.

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

If Enninful sounds nostalgic, he is far from alone. Lately, a fond idealisation of the 1990s has grown intense. Yet over the last thirty years, Enninful believes a noticeable regression. "I believe, we’re more divided now than we were in the 90s," he remarks. "It’s not even this country – it’s a global phenomenon."

A Perceived Regression

This regression is difficult to overlook: the resurgence of nationalist groups, the reaction against so-called "wokeness", and the reinforcement of Eurocentric beauty standards. Replacing the optimism of the late 90s, now a more divisive political force stands as a potential leader. Even, the Union Jack, once an emblem of Cool Britannia, has become contentious again.

In Enninful's view, the response has always been to promote culture in all its multifaceted forms. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a diverse array of influential figures from art.

"Individuals with a platform should wield it," he asserts, discussing those editorial decisions. "People often debate about immigration; I would not be in this position if Britain were not a welcoming country, if it refused my family a home and an education. That’s the Britain I always loved. I trust this phase will pass."

A New Wave of Consciousness

He finds hope in the youth of today: "Their awareness is greater than we were. They analyse implicit prejudice – I didn't even know what that was."

Those early experiences would shape a groundbreaking career characterised by fearlessness and diversity. Enninful made history as the first male, first Black editor, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His time featured diverse covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and people from all walks of life. Critically, sales rose.

"To overlook large portions of the population, it’s not just that you’re not being inclusive – it’s a poor strategy," he emphasises.

Beyond the Magazine World

He has since founded his agency EE72 and its accompanying magazine, 72, his key endeavour since departing his former post. He expresses a desire to continue being a "innovator".

"I’ve always questioned the status quo. I was raised in a place where Black professionals were the norm – the doctors, the lawyers, the president. Then we arrived in England, with nothing, and I found myself on the margins. I was painfully reserved. My teachers said I’d never amount to anything. Me and my brothers were harassed under the Sus laws … this duality gave me a unique perspective on the inside and the outside."

Defying the caricature of industry figures as loud and highly strung, Enninful is calm and radiates serenity. His journey has not been immune to challenges, including well-documented battles with mental health and substance use.

He has also endured serious health issues, having had multiple operations 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 comparable to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever is over, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to confine myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This refusal to be defined narrowly has inspired him beyond the realm that built his career. He is now organising a major 1990s exhibition at Tate Britain, bringing together work by a group of pivotal artists and photographers from the era. The show, he notes, aims to evoke the decade's artistic collaboration – and highlight those who lacked adequate attention at the time.

"The establishment sometimes neglected to celebrate the most relevant talents because they weren't of the expected background," he comments.

This venture itself functions with a novel business model, rejecting traditional advertising in favour of partnership-based projects. "We ask, what can we achieve in partnership? Is it an event, a podcast? The magazine is a piece within a greater ecosystem."

An Unstoppable Drive

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

How would the Enninful of that era think of the man he has become? He smiles. "It would be a surprise, but he’d be pleased. At that time I was anti-establishment. I didn't think institutions like Tate were necessarily for me."

He adds. "Gratitude is key. We were displaced, we fled our country. 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 made up my mind to do something."