Edward Enninful on Modern Britain: 'A Decline in Tolerance' Compared to the Nineties.

A serendipitous meeting while riding the tube in 1988 changed forever the course of a teenage Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the city's vibrant 1990s cultural landscape, progressing from model to stylist and, by the age of 18, becoming the fashion director of i-D magazine.

"That era was the peak of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I felt we’d be close. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I miss that energy."

While Enninful may seem sentimental, he is in good company. In recent times, a wistful romanticisation of the 1990s has become pervasive. But since that time, Enninful believes a profound shift. "I feel, we’re less tolerant now than we were in the 90s," he says. "The issue extends beyond this country – it’s everywhere."

Shifting Attitudes

This shift is difficult to overlook: the resurgence of nationalist groups, the backlash against so-called "wokeness", and the reassertion of Eurocentric beauty standards. In place of the hope of the Blair era, today a more divisive political figure looms as a potential leader. Even, the British flag, once an symbol of cultural optimism, has become contentious again.

In Enninful's view, the response has consistently been to champion culture in all its multifaceted forms. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a wide range of influential figures from music.

"People with a voice should use it," he comments, discussing those publishing choices. "Everyone talks about immigration; I could not have had this life if Britain hadn't been a lenient country, if it did not offer my family a home and an education. That’s the Britain I always loved. I trust this phase will fade."

A New Wave of Consciousness

He takes comfort in the next generation: "They’re much more aware than we were. They talk about systemic issues – I didn't even know what that was."

The beginnings of his career would define a groundbreaking career built on fearlessness and diversity. Enninful broke barriers 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 tenure featured diverse covers showcasing Black models, curvy models, older individuals, and people from varied communities. Importantly, sales increased.

"When you ignore vast segments of the population, it’s more than that you’re failing to represent – it’s a poor strategy," he emphasises.

Beyond the Magazine World

He has recently launched his agency EE72 and its flagship publication, 72, his premier initiative since moving on from his previous role. He states his aim to continue being a "change-maker".

"I’ve always questioned the status quo. I was raised in a place where the majority was Black – the physicians, the attorneys, the president. Then we came to England, without funds, and I was a minority. I was very shy. My teachers predicted I’d never amount to anything. Me and my brothers were harassed under the Sus laws … this duality gave me a dual identity both an insider and outsider."

In contrast to the popular image of fashion editors as brash and temperamental, Enninful is measured in tone and radiates serenity. His life has not been immune to challenges, including well-documented struggles with depression and addiction.

He has also undergone significant health challenges, having undergone several surgeries on his eyes, now leaving him with limited vision. "I endured such a difficult period for two years, away from work, terrified I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I thought, if this ever passes, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to limit myself to just being an editor or a figure in fashion."

A Foray into Curation

This drive to be typecast has inspired him away from the realm that established him. He is now putting together a seminal 1990s exhibition at Tate Britain, showcasing work by a roster of pivotal artists and photographers from the era. The show, he explains, aims to evoke the decade's interdisciplinary energy – and give platform to those who lacked adequate attention at the time.

"Galleries often failed to promote the truly innovative creators because they did not have the traditional credentials," he observes.

This project itself uses a unique business model, forgoing traditional advertising in favour of partnership-based projects. "We ask, what can we achieve in partnership? Is it an event, a series? The magazine is part of a greater ecosystem."

Looking Forward Without Fear

Today, Enninful stands as one of the world's most powerful industry leaders. His path, he feels, is a proof to the power of defying expectations.

What would the Enninful of that era make of the his current self? He laughs heartily. "He’d be in shock, but he’d be impressed. Back then I was sceptical of institutions. I would not have believed institutions like Tate were within my reach."

He adds. "Gratitude is key. 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 no obstacle is too great once I’ve decided to do something."