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

A chance encounter while riding the tube in 1988 altered the course of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the capital's electric 1990s cultural landscape, evolving from model to stylist and, by the age of 18, becoming the fashion director of the publication i-D.

"That time was the zenith of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I understood we’d be great friends. We all socialised across disciplines. Friday rolled 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 reached fever pitch. But in the intervening decades, Enninful believes a profound shift. "I feel, we’re more divided now than we were in the 90s," he observes. "This isn't just this country – it’s everywhere."

A Perceived Regression

This shift is increasingly evident: the rise of far-right politics, the backlash against so-called "wokeness", and the reassertion of Eurocentric beauty standards. In place of the hope of the late 90s, today a more divisive political personality looms as a possible leader. Even, the British flag, once an badge of national pride, has become contentious again.

According to Enninful, the solution has long been to champion culture in all its multifaceted forms. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a wide range of cultural icons from politics.

"Those in a position of influence should wield it," he comments, discussing those editorial decisions. "People often debate about immigration; I would not be in this position if Britain hadn't been a open country, if it hadn't given my family a refuge and an education. That’s the Britain I believed in. I believe this phase will pass."

The Younger Generation's Awareness

He takes comfort in the younger generation: "They are far more conscious than we were. They talk about systemic issues – I didn't even know what that was."

His formative years would shape a groundbreaking career marked by fearlessness and diversity. Enninful set a precedent as the first male, first Black editor, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His leadership featured diverse covers showcasing people of diverse backgrounds, curvy models, an octogenarian, and individuals from varied communities. Significantly, sales grew.

"To overlook huge sections of the population, it’s not just that you’re excluding people – it’s bad for business," he emphasises.

Beyond the Magazine World

He has established his creative company EE72 and its accompanying magazine, 72, his premier initiative since departing his previous role. He expresses a desire to continue being a "disruptor".

"I’ve always questioned the status quo. I was born and raised in a place where the majority was Black – the physicians, the attorneys, the president. Then we came to England, with nothing, and I became the 'other'. I was very shy. My teachers said I’d have no future. Me and my brothers were subject to police stops the Sus laws … those experiences gave me a sense of being between worlds."

Defying the caricature of industry figures as loud and highly strung, Enninful is softly spoken and radiates serenity. His journey has not been immune to adversity, including well-documented struggles with mental health and substance use.

He has also undergone serious health issues, having undergone several surgeries on his eyes, leading to impaired eyesight. "I endured such a difficult period for two years, away from work, fearing I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I thought, if this ever is over, I’m just going to do everything that I was so fearful to do. I’m not going to limit myself to just being an editor or a fashion person."

A Foray into Curation

This drive to be defined narrowly has led him away from the realm that made his name. He is now organising a major 1990s exhibition at Tate Britain, bringing together work by a host of pivotal artists and photographers from the era. The show, he notes, aims to explore the decade's interdisciplinary energy – and highlight those who did not receive a spotlight at the time.

"Institutions didn't always promote the truly innovative creators because they lacked the traditional credentials," he comments.

This venture itself uses a different approach, forgoing traditional advertising in favour of integrated partnerships. "The question is, what can we achieve in partnership? Is it an experience, a podcast? The magazine is one component of a broader vision."

A Testament to Resilience

Today, Enninful is regarded as one of the world's most respected creative power brokers. His path, he feels, is a proof to the power of pursuing your passions.

How would the Enninful of that era think of the Edward of today? He chuckles. "He’d be in shock, but he’d be pleased. In those days I was a rebel. I didn't think institutions like Tate were necessarily for me."

He adds. "I never take anything for granted. We were displaced, we fled our country. I nearly lost my vision. So there is no room for fear. People have counted me out my entire life. But no obstacle is too great once I’ve made up my mind to do something."