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

A chance encounter on the London Underground in 1988 transformed the path of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the London's electric 1990s creative scene, evolving from mannequin to stylist and, by the age of 18, becoming the fashion director of the iconic i-D.

"That time was the zenith of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I felt we’d be great friends. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I yearn for that energy."

While Enninful may seem wistful, he is in good company. Recently, a wistful romanticisation of the 1990s has become pervasive. But since that time, Enninful perceives a noticeable regression. "In my view, we’re more divided now than we were in the 90s," he observes. "This isn't just this country – it’s a global phenomenon."

Shifting Attitudes

This change is hard to ignore: the resurgence of populist movements, the pushback against social awareness, and the return of Eurocentric beauty standards. Where once there was the optimism of the previous decade, today a different political figure looms as a potential leader. Furthermore, the Union Jack, once an badge of Cool Britannia, has become contentious again.

For Enninful, the solution 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 snapshot of modern Britain, featuring a wide range of prominent faces from politics.

"Individuals with a platform should wield it," he says, explaining those publishing choices. "There is much discussion about immigration; I would not be in this position if Britain was not a welcoming country, if it did not offer my family a refuge and an education. That’s the Britain I believed in. I hope this phase will pass."

The Younger Generation's Awareness

He draws solace in the next generation: "They’re much more aware than we were. They discuss implicit prejudice – I didn't even know what that was."

His formative years would forge a groundbreaking career built on fearlessness and representation. Enninful made history as the first man, first black man, first gay man, and first disabled Black gay man to take the helm at British Vogue. His leadership featured diverse covers showcasing Black models, curvy models, an octogenarian, and people from all walks of life. Importantly, sales rose.

"To overlook large portions of the population, it’s more than that you’re failing to represent – it’s a poor strategy," he explains.

Launching a Creative Venture

He has recently launched his creative company EE72 and its flagship publication, 72, his first major project since leaving his previous role. He expresses a desire to continue being a "change-maker".

"I’ve always questioned the established norms. I was born and raised in a place where Black professionals were the norm – the doctors, the lawyers, the leader. Then we came to England, penniless, and I became the 'other'. I was very shy. My teachers declared I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … this duality gave me a sense of being between worlds."

Contrary to the caricature of fashion editors as loud and temperamental, Enninful is calm and projects peace. His path has involved adversity, including openly discussed battles with depression and addiction.

He has also faced significant health issues, having had multiple operations on his eyes, now leaving him with partial sight. "I experienced such a dark place for two years, away from work, terrified I was going to go blind. It’s like PTSD; you just live in fear 24/7. I thought, if this ever ends, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This refusal to fit into a box has propelled him away from the industry that established him. He is now organising a seminal 1990s exhibition at Tate Britain, featuring work by a roster of pivotal artists and photographers from the era. The show, he explains, aims to evoke the decade's artistic collaboration – and spotlight those who weren't given adequate attention at the time.

"Galleries often failed to shine a light on the truly innovative creators because they lacked the expected background," he observes.

This venture itself functions with a novel strategy, forgoing traditional advertising in favour of integrated partnerships. "We ask, what can we achieve in partnership? Is it an event, a podcast? The magazine is one component of a larger creative platform."

Looking Forward Without Fear

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

What would the Edward of the 90s make of the his current self? He laughs heartily. "He would be astonished, but he’d be pleased. In those days I was anti-establishment. I would not have believed institutions like Tate were a place for someone like me."

He reflects. "Gratitude is key. We were displaced, we fled our country. I almost lost my vision. So fear isn't an option. People have counted me out my whole career. But nothing can stop me once I’ve decided to do something."