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

A chance encounter during a tube journey in 1988 altered the path of a teenage Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the London's electric 1990s cultural landscape, progressing from model to stylist and, by the age of 18, becoming the fashion director of the publication i-D.

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

If Enninful sounds sentimental, he is not the only one. In recent times, a wistful romanticisation of the 1990s has reached fever pitch. However since that time, Enninful feels a significant change. "I feel, we’re less accepting now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s a global phenomenon."

A Perceived Regression

This regression is hard to ignore: the rise of far-right politics, the backlash against so-called "wokeness", and the reassertion of traditional beauty standards. In place of the optimism of the Blair era, now a more divisive political figure looms as a potential leader. Even, the Union Jack, once an badge of Cool Britannia, has become contentious again.

In Enninful's view, the response has long been to celebrate culture in all its multifaceted forms. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a wide range of cultural icons from politics.

"People with a voice should employ it," he comments, discussing those publishing choices. "People often debate about immigration; I would not be in this position if Britain were not a welcoming country, if it did not offer my family a home and an opportunity. That’s the Britain I always loved. I trust this moment will fade."

Hope in the Next Generation

He takes comfort in the younger generation: "They’re much more aware than we were. They discuss unconscious bias – I was not even aware what that was."

The beginnings of his career would shape a pioneering career marked by boldness and inclusivity. Enninful broke barriers as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His time featured landmark covers showcasing models of colour, curvy models, an octogenarian, and individuals from all walks of life. Critically, sales grew.

"When you ignore huge sections of the population, it’s not just that you’re excluding people – it’s a poor strategy," he states.

A New Chapter as a 'Disruptor'

He has established his creative company EE72 and its flagship publication, 72, his key endeavour since moving on from his previous role. He expresses a desire to continue being a "disruptor".

"My nature is to challenge the conventional wisdom. I was raised in a place where Black professionals were the norm – the physicians, the attorneys, the president. Then we arrived in England, penniless, 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 fashion editors as loud and highly strung, Enninful is calm and radiates serenity. His life has involved challenges, including publicly shared struggles with mental health and substance use.

He has also endured significant health challenges, having undergone several surgeries on his eyes, leading to partial sight. "I endured such a time of fear for two years, not working, fearing I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I thought, if this ever passes, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to confine myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This determination to fit into a box has led him beyond the industry that established him. He is now putting together a significant 1990s exhibition at Tate Britain, showcasing work by a roster of influential artists and photographers from the era. The show, he notes, aims to evoke the decade's interdisciplinary energy – and highlight those who weren't given a spotlight at the time.

"Galleries didn't always shine a light on the truly innovative creators because they did not have the right pedigree," he comments.

This venture itself uses a different strategy, forgoing traditional advertising in favour of partnership-based projects. "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 stands as one of the world's most influential industry leaders. His journey, he feels, is a proof to the power of following your instincts.

How would the Enninful of that era make of the his current self? He laughs heartily. "He’d be in shock, but he’d be proud. At that time I was a rebel. I would not have believed institutions like Tate were necessarily for me."

He adds. "Nothing is assumed. We fled, we fled our country. I came close to losing my vision. So fear isn't an option. People have counted me out my whole career. But I am unstoppable once I’ve made up my mind to do something."