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

A serendipitous meeting during a tube journey in 1988 altered the trajectory of a teenage Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the London's electric 1990s artistic milieu, progressing from mannequin to stylist and, while still a teenager, 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 remembers. "Then I met Naomi for a cover, and I understood we’d be kindred spirits. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I long for that energy."

If Enninful sounds wistful, he is not the only one. Recently, a longing look back of the 1990s has reached fever pitch. Yet since that time, Enninful feels a noticeable regression. "In my view, we’re less tolerant now than we were in the 90s," he says. "The issue extends beyond this country – it’s worldwide."

A Perceived Regression

This regression is hard to ignore: the growth of far-right politics, the backlash against progressive values, and the return of traditional beauty standards. Where once there was the hope of the Blair era, today a more divisive political personality stands as a potential leader. Furthermore, the British flag, once an badge of Cool Britannia, has sparked debate once more.

For Enninful, the solution has long been to celebrate culture in all its variety. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a wide range of influential figures from politics.

"Those in a position of influence should employ it," he comments, referring to those publishing choices. "Everyone talks about immigration; I would not be in this position if Britain was not a welcoming country, if it refused my family a refuge and an opportunity. That’s the Britain I believed in. I trust this moment will end."

A New Wave of Consciousness

He draws solace in the next generation: "They are far more conscious than we were. They talk about unconscious bias – I didn't even know what that was."

Those early experiences would shape a pioneering career marked by boldness and diversity. Enninful set a precedent as the first man, first Black editor, first openly gay person, and first disabled Black gay man to lead at British Vogue. His leadership featured diverse covers showcasing models of colour, curvy models, older individuals, and individuals from all walks of life. Critically, sales increased.

"To overlook vast segments of the population, it’s not just that you’re excluding people – it’s bad for business," he explains.

Launching a Creative Venture

He has recently launched his agency EE72 and its accompanying magazine, 72, his first major project since moving on from his former post. He says he wants to continue being a "change-maker".

"I’ve always questioned the established norms. I was brought up in a place where Black professionals were the norm – the doctors, the lawyers, the president. Then we arrived in England, with nothing, and I was a minority. I was incredibly timid. My teachers declared I’d have no future. Me and my brothers were subject to police stops the Sus laws … this duality gave me a unique perspective on the inside and the outside."

Contrary to the popular image of industry figures as loud and highly strung, Enninful is calm and projects peace. His path has involved challenges, including openly discussed battles with depression and substance use.

He has also endured serious health issues, having had multiple operations on his eyes, leading to impaired eyesight. "I endured such a time of fear for two years, away from work, anxious I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever ends, I’m just going to do everything that I was so scared 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 typecast has propelled him away from the world that made his name. He is now putting together a significant 1990s exhibition at Tate Britain, bringing together work by a host of defining artists and photographers from the era. The show, he notes, aims to explore the decade's artistic collaboration – and give platform to those who did not receive due recognition at the time.

"Institutions sometimes neglected to celebrate the most relevant talents because they did not have the traditional credentials," he states.

The magazine 72 itself uses a unique business model, forgoing traditional advertising in favour of creative collaborations. "We ask, what can we achieve in partnership? Is it an experience, a series? The magazine is one component of a broader vision."

Looking Forward Without Fear

Now, Enninful operates as one of the world's most influential industry leaders. His path, he states, is a demonstration to the power of pursuing your passions.

What would the Enninful of that era think of the man he has become? He laughs heartily. "He’d be in shock, but he’d be proud. Back then I was anti-establishment. I didn't think institutions like Tate were a place for someone like me."

He pauses. "I never take anything for granted. We were displaced, we fled our country. I came close to losing my vision. So fear is not a factor. People have underestimated me my entire life. But no obstacle is too great once I’ve decided to do something."