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

A serendipitous meeting during a tube journey in 1988 transformed the trajectory of a young Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the capital's electric 1990s artistic milieu, moving from model to stylist and, by the age of 18, becoming the style editor of the iconic i-D.

"It was the height of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell 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 energy."

While Enninful may seem nostalgic, he is in good company. Lately, a wistful romanticisation of the 1990s has reached fever pitch. But in the intervening decades, Enninful perceives a significant change. "I feel, we’re more divided now than we were in the 90s," he observes. "This isn't just this country – it’s worldwide."

Shifting Attitudes

This regression is difficult to overlook: the growth of populist movements, the pushback against social awareness, and the reinforcement of traditional beauty standards. In place of the hope of the late 90s, today a different political figure looms as a potential leader. Furthermore, the Union Jack, once an emblem of cultural optimism, has returned as a polarising symbol.

In Enninful's view, the response has long been to champion culture in all its diversity. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a diverse array of cultural icons from music.

"Individuals with a platform should wield it," he comments, discussing those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain was not 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 period will fade."

Hope in the Next Generation

He finds hope in the youth of today: "They are far more conscious than we were. They talk about unconscious bias – I was not even aware what that was."

Those early experiences would shape a trailblazing career built on fearlessness and diversity. Enninful made history as the first male, first black man, first gay man, and first disabled Black gay man to lead at British Vogue. His leadership featured landmark covers showcasing Black models, plus-sized women, an octogenarian, and people from varied communities. Critically, sales rose.

"Ignoring vast segments of the population, it’s not just that you’re not being inclusive – it’s bad for business," he states.

A New Chapter as a 'Disruptor'

He has established his agency EE72 and its flagship publication, 72, his key endeavour since leaving his previous role. He expresses a desire to continue being a "change-maker".

"My nature is to challenge the established norms. I was raised in a place where the majority was Black – the physicians, the lawyers, the president. Then we came to England, penniless, and I became the 'other'. I was very shy. My teachers said I’d have no future. Me and my brothers were stopped by the police the suspicion laws … those experiences gave me a unique perspective on the inside and the outside."

Contrary to the stereotype of industry figures as brash 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, resulting in limited vision. "I experienced such a time of fear for two years, not working, fearing 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 passes, I’m just going to do everything that I was so afraid to do. I’m not going to limit myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This drive to be typecast has led him away from the industry that established him. He is now organising a major 1990s exhibition at Tate Britain, showcasing work by a host of pivotal artists and photographers from the era. The show, he explains, aims to evoke the decade's artistic collaboration – and spotlight those who lacked a spotlight at the time.

"The establishment sometimes neglected to promote the right artists because they lacked the traditional credentials," he states.

The magazine 72 itself functions with a different strategy, forgoing traditional advertising in favour of partnership-based projects. "The question is, what can we create collaboratively? Is it an experience, a podcast? The magazine is part of a broader vision."

A Testament to Resilience

Currently, Enninful stands as one of the world's most respected creative power brokers. His story, he believes, is a demonstration to the power of following your instincts.

How would the younger Edward make of the man he has become? He chuckles. "He would be astonished, but he’d be pleased. In those days I was a rebel. I never imagined institutions like Tate were within my reach."

He reflects. "Nothing is assumed. We fled, we fled our country. I nearly lost my vision. So there is no room for fear. People have doubted me my whole career. But I am unstoppable once I’ve decided to do something."