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

A serendipitous meeting during a tube journey in 1988 changed forever the trajectory of a young Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was quickly drawn into the London's vibrant 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 states. "Then Naomi Campbell for a cover, and I knew we’d be great friends. We all mixed across disciplines. Friday bled into Saturday into Sunday. I miss that rawness."

If Enninful sounds nostalgic, he is not the only one. Recently, a longing look back of the 1990s has become pervasive. Yet since that time, Enninful feels a profound shift. "I feel, we’re more divided now than we were in the 90s," he observes. "The issue extends beyond this country – it’s a global phenomenon."

A Cultural Backslide

This regression is difficult to overlook: the growth of nationalist groups, the pushback against so-called "wokeness", and the return of Eurocentric beauty standards. In place of the hope of the late 90s, now a different political figure stands as a possible leader. Furthermore, the Union Jack, once an symbol of cultural optimism, has become contentious again.

In Enninful's view, the antidote has long been to promote culture in all its multifaceted forms. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a broad spectrum of cultural icons from literature.

"People with a voice should use it," he says, discussing those publishing choices. "Everyone talks about immigration; I could not have had this life if Britain was not a lenient country, if it refused my family a refuge and an opportunity. That’s the Britain I cherished. I trust this phase will end."

A New Wave of Consciousness

He draws solace in the next generation: "Their awareness is greater than we were. They talk about systemic issues – I didn't even know what that was."

The beginnings of his career would define a groundbreaking career marked by fearlessness and representation. Enninful made history as the first male, first black man, first openly gay person, and first disabled Black gay man to lead at British Vogue. His leadership featured diverse covers showcasing people of diverse backgrounds, curvy models, older individuals, and individuals from varied communities. Critically, sales grew.

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

Beyond the Magazine World

He has since founded his creative company EE72 and its accompanying magazine, 72, his premier initiative since leaving his previous role. He says he wants to continue being a "change-maker".

"I’ve always questioned the conventional wisdom. I was raised in a place where everybody was black – the doctors, the attorneys, the leader. Then we arrived in England, penniless, and I found myself on the margins. I was very shy. My teachers declared I’d never amount to anything. Me and my brothers were harassed under the Sus laws … this duality gave me a sense of being both an insider and outsider."

Contrary to the caricature of fashion editors as loud and temperamental, Enninful is calm and radiates serenity. His path has involved challenges, including well-documented struggles with mental health and addiction.

He has also endured significant health challenges, having had multiple operations on his eyes, now leaving him with partial sight. "I experienced such a difficult period 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 vowed, if this ever is over, I’m just going to do everything that I was so fearful to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This determination to be typecast has propelled him outside the realm that established him. He is now curating a major 1990s exhibition at Tate Britain, featuring work by a group of defining artists and photographers from the era. The show, he notes, aims to capture the decade's creative cross-pollination – and spotlight those who did not receive due recognition at the time.

"The establishment didn't always celebrate the right artists because they lacked the traditional credentials," he observes.

This project itself uses a novel approach, rejecting traditional advertising in favour of partnership-based projects. "Our approach is, what can we create collaboratively? Is it an event, a podcast? The magazine is a piece within a greater ecosystem."

Looking Forward Without Fear

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

What would the Enninful of that era think of the Edward of today? He smiles. "It would be a surprise, but he’d be proud. Back then I was sceptical of institutions. I didn't think institutions like Tate were necessarily for me."

He reflects. "Gratitude is key. We lost our home, we fled our country. I almost lost my vision. So fear is not a factor. People have doubted me my entire life. But no obstacle is too great once I’ve made up my mind to do something."