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

A serendipitous meeting during a tube journey in 1988 altered the path of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the London's electric 1990s artistic milieu, moving from model to stylist and, by the age of 18, becoming the fashion director of the iconic i-D.

"That time was the height of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I knew we’d be great friends. We all socialised across disciplines. Friday bled into Saturday into Sunday. I long for that spontaneity."

If Enninful sounds sentimental, he is not the only one. Recently, a longing look back of the 1990s has grown intense. But in the intervening decades, Enninful perceives a noticeable regression. "In my view, we’re more divided now than we were in the 90s," he remarks. "This isn't just this country – it’s a global phenomenon."

A Cultural Backslide

This change is hard to ignore: the resurgence of nationalist groups, the reaction against so-called "wokeness", and the return of narrow beauty standards. Where once there was the optimism of the previous decade, currently a more divisive political force stands as a possible leader. Furthermore, the Union Jack, once an emblem of cultural optimism, has returned as a polarising symbol.

According to Enninful, the response has consistently been to promote culture in all its variety. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a diverse array of prominent faces from music.

"People with a voice should use it," he comments, explaining those editorial decisions. "There is much discussion about immigration; I would not be in this position 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 fade."

The Younger Generation's Awareness

He takes comfort in the next generation: "They’re much more aware than we were. They discuss unconscious bias – I didn't even know what that was."

Those early experiences would define a pioneering career characterised by fearlessness and diversity. Enninful set a precedent as the first male, first black man, first gay man, and first disabled Black gay man to take the helm at British Vogue. His time featured landmark covers showcasing models of colour, plus-sized women, older individuals, and individuals from all walks of life. Critically, sales rose.

"To overlook vast segments of the population, it’s more than that you’re not being inclusive – it’s a poor strategy," he emphasises.

Beyond the Magazine World

He has established his new venture EE72 and its flagship publication, 72, his premier initiative since moving on from his previous role. He expresses a desire to continue being a "innovator".

"I’ve always questioned the conventional wisdom. I was brought up in a place where everybody was black – the doctors, the lawyers, the president. Then we came to England, penniless, and I became the 'other'. I was incredibly timid. My teachers said I’d never amount to anything. Me and my brothers were subject to police stops the suspicion laws … all that gave me a sense of being both an insider and outsider."

Defying the stereotype of fashion editors as loud and highly strung, Enninful is calm and projects peace. His journey has included its share of challenges, including well-documented struggles with mental health and addiction.

He has also undergone serious health issues, having undergone several surgeries on his eyes, leading to limited vision. "I endured such a time of fear for two years, away from work, anxious I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I prayed, if this ever ends, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to confine myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This determination to fit into a box has led him away from the world that made his name. He is now organising a seminal 1990s exhibition at Tate Britain, featuring work by a host of pivotal artists and photographers from the era. The show, he notes, aims to capture the decade's interdisciplinary energy – and highlight those who weren't given a spotlight at the time.

"Galleries often failed to shine a light on the most relevant talents because they weren't of the expected background," he observes.

This venture itself uses a unique strategy, forgoing traditional advertising in favour of integrated partnerships. "The question is, what can we do together? Is it an experience, a series? The magazine is part of a larger creative platform."

An Unstoppable Drive

Currently, Enninful stands as one of the world's most powerful cultural influencers. His story, he feels, is a testament to the power of pursuing your passions.

How would the Edward of the 90s react to the Edward of today? He chuckles. "He’d be in shock, but he’d be impressed. At that time I was anti-establishment. I didn't think institutions like Tate were within my reach."

He reflects. "Gratitude is key. We lost our home, we left our homeland. I nearly 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."