Edward Enninful discusses Modern Britain: 'We Are Less Tolerant Now' Than We Were Decades Ago.

A serendipitous meeting during a tube journey in 1988 transformed the course of a young Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the capital's vibrant 1990s artistic milieu, moving from model to stylist and, by the age of 18, becoming the fashion director of i-D magazine.

"That time was the height of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I understood we’d be kindred spirits. We all hung out across disciplines. Friday became Saturday into Sunday. I long for that spontaneity."

While Enninful may seem wistful, he is far from alone. In recent times, a fond idealisation of the 1990s has grown intense. Yet since that time, Enninful perceives a noticeable regression. "I feel, we’re less accepting now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s everywhere."

A Cultural Backslide

This shift is difficult to overlook: the growth of populist movements, the backlash against progressive values, and the return of traditional beauty standards. Where once there was the optimism of the Blair era, currently a more divisive political personality looms as a possible leader. Even, the British flag, once an emblem of national pride, has become contentious again.

In Enninful's view, the antidote has long been to promote culture in all its multifaceted forms. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a wide range of cultural icons from literature.

"Individuals with a platform should employ it," he comments, referring to those editorial decisions. "There is much discussion about immigration; I wouldn't be here if Britain were not a lenient country, if it refused my family a refuge and an opportunity. That’s the Britain I always loved. I hope this phase will pass."

A New Wave of Consciousness

He takes comfort in the youth of today: "Their awareness is greater than we were. They discuss systemic issues – I didn't even know what that was."

The beginnings of his career would shape a pioneering career characterised by fearlessness and diversity. Enninful set a precedent as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His leadership featured diverse covers showcasing Black models, curvy models, older individuals, and people from varied communities. Importantly, sales rose.

"To overlook huge sections of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he states.

Beyond the Magazine World

He has recently launched his agency EE72 and its flagship publication, 72, his key endeavour since departing his former post. He says he wants to continue being a "change-maker".

"I constantly interrogate the conventional wisdom. I was brought up in a place where everybody was black – the physicians, the attorneys, the president. Then we arrived in England, with nothing, and I became the 'other'. I was painfully reserved. My teachers said I’d never amount to anything. Me and my brothers were stopped by the police the suspicion laws … those experiences gave me a unique perspective both an insider and outsider."

In contrast to the stereotype of industry figures as brash and temperamental, Enninful is calm and radiates serenity. His path has not been immune to adversity, including openly discussed struggles with depression and addiction.

He has also endured serious health issues, having undergone several surgeries on his eyes, now leaving him with limited vision. "I was in such a dark place for two years, away from work, anxious I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I thought, if this ever passes, I’m just going to do everything that I was so afraid 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 industry that built his career. He is now putting together a significant 1990s exhibition at Tate Britain, bringing together work by a roster of defining artists and photographers from the era. The show, he says, aims to capture the decade's creative cross-pollination – and spotlight those who weren't given due recognition at the time.

"Institutions didn't always promote the right artists because they lacked the right pedigree," he comments.

This venture itself uses a different approach, rejecting traditional advertising in favour of creative collaborations. "The question is, what can we achieve in partnership? Is it an event, a series? The magazine is a piece within a greater ecosystem."

A Testament to Resilience

Today, Enninful stands as one of the world's most influential creative power brokers. His story, he states, is a proof to the power of following your instincts.

What would the younger Edward think of the man he has become? He smiles. "It would be a surprise, but he’d be proud. Back then I was anti-establishment. I would not have believed institutions like Tate were a place for someone like me."

He reflects. "Nothing is assumed. We lost our home, we left our homeland. I almost lost my vision. So fear isn't an option. People have underestimated me my whole career. But no obstacle is too great once I’ve decided to do something."