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

A chance encounter while riding the tube in 1988 transformed the path of a teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the London's buzzing 1990s artistic milieu, progressing from mannequin to stylist and, before turning twenty, becoming the style editor of the iconic i-D.

"It was the zenith of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I knew we’d be kindred spirits. We all hung out across disciplines. Friday became Saturday into Sunday. I yearn for that rawness."

Although Enninful appears wistful, he is in good company. In recent times, a longing look back of the 1990s has become pervasive. However since that time, Enninful believes a profound shift. "I feel, we’re more divided now than we were in the 90s," he says. "It’s not even this country – it’s a global phenomenon."

A Cultural Backslide

This change is difficult to overlook: the rise of far-right politics, the backlash against so-called "wokeness", and the reinforcement of traditional beauty standards. In place of the hope of the Blair era, today a more divisive political force looms as a possible leader. Furthermore, the Union Jack, once an symbol of cultural optimism, has sparked debate once more.

For Enninful, the response has consistently been to champion culture in all its multifaceted forms. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a wide range of cultural icons from literature.

"Individuals with a platform should use it," he asserts, explaining those publishing choices. "There is much discussion about immigration; I wouldn't be here if Britain were not a open country, if it refused my family a home and an opportunity. That’s the Britain I believed in. I hope this moment will pass."

The Younger Generation's Awareness

He draws solace in the next generation: "They’re much more aware than we were. They analyse unconscious bias – I was not even aware what that was."

Those early experiences would define a pioneering career marked by boldness and representation. Enninful broke barriers as the first male, first black man, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His leadership featured historic front pages showcasing Black models, plus-sized women, older individuals, and individuals from all walks of life. Significantly, sales increased.

"When you ignore large portions of the population, it’s more than that you’re excluding people – it’s a poor strategy," he states.

A New Chapter as a 'Disruptor'

He has since founded his new venture EE72 and its flagship publication, 72, his key endeavour since moving on from his former post. He states his aim to continue being a "change-maker".

"My nature is to challenge the conventional wisdom. I was brought up in a place where the majority was Black – the doctors, the lawyers, the leader. Then we arrived in England, penniless, and I found myself on the margins. I was incredibly timid. My teachers declared I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … this duality gave me a unique perspective both an insider and outsider."

In contrast to the caricature of fashion editors as brash and temperamental, Enninful is measured in tone and projects peace. His journey has included its share of adversity, including well-documented battles with mental health and substance use.

He has also endured significant health challenges, having undergone several surgeries on his eyes, leading to partial sight. "I experienced such a time of fear for two years, away from work, anxious I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I thought, if this ever is over, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to restrict myself to just being an editor or a fashion person."

Curating a Cultural Era

This refusal to be defined narrowly has inspired him outside the industry that built his career. He is now curating a significant 1990s exhibition at Tate Britain, featuring work by a group of influential artists and photographers from the era. The show, he explains, aims to evoke the decade's artistic collaboration – and give platform to those who did not receive due recognition at the time.

"Institutions often failed to promote the truly innovative creators because they lacked the traditional credentials," he comments.

The magazine 72 itself uses a novel approach, forgoing traditional advertising in favour of creative collaborations. "Our approach is, what can we do together? Is it an experience, a series? The magazine is one component of a greater ecosystem."

Looking Forward Without Fear

Today, Enninful stands as one of the world's most powerful cultural influencers. His journey, he believes, is a proof to the power of following your instincts.

What would the Enninful of that era react to the his current self? He chuckles. "He would be astonished, but he’d be impressed. Back then I was sceptical of institutions. I never imagined institutions like Tate were within my reach."

He adds. "Gratitude is key. We fled, we fled our country. I came close to losing my vision. So fear isn't an option. People have counted me out my whole career. But I am unstoppable once I’ve made up my mind to do something."