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

A chance encounter while riding the tube in 1988 transformed the trajectory of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the capital's electric 1990s cultural landscape, evolving from mannequin to stylist and, before turning twenty, becoming the fashion director of i-D magazine.

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

While Enninful may seem sentimental, he is in good company. Lately, a wistful romanticisation of the 1990s has become pervasive. However over the last thirty years, Enninful perceives a profound shift. "I feel, we’re less accepting now than we were in the 90s," he remarks. "It’s not even this country – it’s worldwide."

A Perceived Regression

This change is difficult to overlook: the rise of populist movements, the backlash against so-called "wokeness", and the reassertion of narrow beauty standards. Replacing the optimism of the Blair era, now a more divisive political personality looms as a possible leader. Furthermore, the British flag, once an symbol of Cool Britannia, has sparked debate once more.

For Enninful, the solution has consistently been to promote culture in all its variety. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a broad spectrum of influential figures from art.

"Those in a position of influence should wield it," he comments, referring to those editorial decisions. "There is much discussion about immigration; I would not be in this position if Britain hadn't been a welcoming country, if it hadn't given my family a home and an opportunity. That’s the Britain I cherished. I hope this moment will fade."

A New Wave of Consciousness

He finds hope in the younger generation: "They are far more conscious than we were. They analyse unconscious bias – I was not even aware what that was."

His formative years would forge a groundbreaking career marked by fearlessness and diversity. Enninful broke barriers as the first male, first Black editor, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His leadership featured landmark covers showcasing models of colour, plus-sized women, an octogenarian, and individuals from all walks of life. Significantly, sales grew.

"To overlook huge sections of the population, it’s more than 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 moving on from his previous role. He states his aim to continue being a "change-maker".

"I constantly interrogate the established norms. I was born and raised in a place where the majority was Black – the physicians, the lawyers, the president. Then we came to England, without funds, and I became the 'other'. I was painfully reserved. My teachers predicted I’d have no future. Me and my brothers were stopped by the police the suspicion laws … those experiences gave me a sense of being between worlds."

In contrast to the stereotype of fashion editors as loud and highly strung, Enninful is calm and projects peace. His journey has not been immune to challenges, including well-documented struggles with depression and substance use.

He has also undergone serious health challenges, having had multiple operations on his eyes, now leaving him with partial sight. "I was in such a dark place for two years, away from work, anxious I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I vowed, if this ever passes, I’m just going to pursue all that I was so fearful to do. I’m not going to confine myself to just being an editor or a fashion person."

Curating a Cultural Era

This refusal to be defined narrowly has inspired him away from the realm that made his name. He is now organising a major 1990s exhibition at Tate Britain, showcasing work by a host of influential artists and photographers from the era. The show, he notes, aims to capture the decade's creative cross-pollination – and spotlight those who lacked adequate attention at the time.

"Galleries sometimes neglected to promote the most relevant talents because they weren't of the traditional credentials," he observes.

The magazine 72 itself functions with a unique business model, eschewing traditional advertising in favour of integrated partnerships. "Our approach is, what can we achieve in partnership? Is it an experience, a series? The magazine is one component of a broader vision."

An Unstoppable Drive

Now, Enninful operates as one of the world's most respected industry leaders. His story, he believes, is a proof to the power of defying expectations.

How would the Enninful of that era think of the Edward of today? He smiles. "He would be astonished, but he’d be proud. In those days I was a rebel. I would not have believed institutions like Tate were necessarily for me."

He reflects. "Gratitude is key. We were displaced, we left our homeland. I almost lost my vision. So there is no room for fear. People have doubted me my whole career. But nothing can stop me once I’ve made up my mind to do something."