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

A chance encounter during a tube journey in 1988 transformed the course of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the capital's electric 1990s artistic milieu, evolving from mannequin to stylist and, before turning twenty, becoming the fashion director of the iconic i-D.

"It was the peak of the Young British Artists – 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 rolled into Saturday into Sunday. I yearn for that rawness."

While Enninful may seem wistful, he is not the only one. In recent times, a longing look back of the 1990s has reached fever pitch. Yet in the intervening decades, Enninful believes a significant change. "In my view, we’re less tolerant now than we were in the 90s," he says. "It’s not even this country – it’s a global phenomenon."

Shifting Attitudes

This change is hard to ignore: the growth of populist movements, the pushback against so-called "wokeness", and the reinforcement of traditional beauty standards. In place of the hope of the previous decade, currently a different political figure appears as a possible leader. Furthermore, the British flag, once an emblem of national pride, has become contentious again.

For Enninful, the solution has long been to champion culture in all its variety. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a diverse array of prominent faces from politics.

"People with a voice should employ it," he says, referring to those editorial decisions. "People often debate about immigration; I could not have had this life if Britain hadn't been a lenient country, if it refused my family a home and an opportunity. That’s the Britain I always loved. I hope this moment will end."

A New Wave of Consciousness

He draws solace in the youth of today: "They are far more conscious than we were. They analyse systemic issues – I didn't even know what that was."

The beginnings of his career would forge a trailblazing career built on fearlessness and inclusivity. Enninful made history as the first man, first black man, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His tenure featured historic front pages showcasing people of diverse backgrounds, plus-sized women, older individuals, and individuals from all walks of life. Critically, sales grew.

"When you ignore huge sections of the population, it’s not just that you’re excluding people – it’s a poor strategy," he explains.

Beyond the Magazine World

He has recently launched his creative company EE72 and its accompanying magazine, 72, his premier initiative since moving on from his former post. He says he wants to continue being a "innovator".

"I constantly interrogate the conventional wisdom. I was raised in a place where everybody was black – the doctors, the lawyers, the president. Then we arrived in England, with nothing, and I was a minority. I was very shy. My teachers declared I’d never amount to anything. Me and my brothers were harassed under the Sus laws … this duality gave me a dual identity between worlds."

Defying the stereotype of fashion editors as brash and temperamental, Enninful is measured in tone and projects peace. His path has involved adversity, including openly discussed periods of mental health and addiction.

He has also faced significant health issues, having had multiple operations on his eyes, leading to impaired eyesight. "I was in such a dark place for two years, away from work, fearing I was going to lose my sight. It’s like 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 confine myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This refusal to be typecast has led him beyond the realm that built his career. He is now organising a seminal 1990s exhibition at Tate Britain, bringing together work by a roster of pivotal artists and photographers from the era. The show, he notes, aims to explore the decade's artistic collaboration – and spotlight those who lacked adequate attention at the time.

"The establishment didn't always shine a light on the most relevant talents because they lacked the expected background," he observes.

The magazine 72 itself operates on a different approach, forgoing traditional advertising in favour of partnership-based projects. "The question is, what can we create collaboratively? Is it an experience, a series? The magazine is one component of a greater ecosystem."

A Testament to Resilience

Now, Enninful operates as one of the world's most powerful creative power brokers. His story, he states, is a demonstration to the power of following your instincts.

What would the Enninful of that era react to the man he has become? He laughs heartily. "He’d be in shock, but he’d be pleased. At that time I was a rebel. I didn't think institutions like Tate were within my reach."

He adds. "I never take anything for granted. We fled, we fled our country. I almost lost my vision. So fear isn't an option. People have counted me out my entire life. But no obstacle is too great once I’ve made up my mind to do something."