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

A chance encounter while riding the tube in 1988 altered the trajectory of a young Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the capital's electric 1990s artistic milieu, moving from mannequin to stylist and, while still a teenager, becoming the fashion director of the iconic i-D.

"It was the zenith of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then Naomi Campbell 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 rawness."

While Enninful may seem nostalgic, he is not the only one. In recent times, a longing look back of the 1990s has grown intense. However over the last thirty years, Enninful perceives a noticeable regression. "I believe, we’re less tolerant now than we were in the 90s," he observes. "This isn't just this country – it’s worldwide."

Shifting Attitudes

This shift is increasingly evident: the rise of nationalist groups, the backlash against social awareness, and the reassertion of Eurocentric beauty standards. Replacing the hope of the Blair era, now a more divisive political personality stands as a possible leader. Furthermore, the British flag, once an emblem of national pride, has become contentious again.

According to Enninful, the solution has consistently been to celebrate culture in all its multifaceted forms. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a diverse array of cultural icons from music.

"Individuals with a platform should wield it," he asserts, discussing those publishing choices. "There is much discussion about immigration; I wouldn't be here if Britain were not a open country, if it hadn't given my family a refuge and an education. That’s the Britain I cherished. I hope this moment will end."

The Younger Generation's Awareness

He takes comfort in the younger generation: "Their awareness is greater than we were. They talk about implicit prejudice – I had no concept what that was."

The beginnings of his career would shape a pioneering career marked by boldness and diversity. 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 time featured diverse covers showcasing models of colour, plus-sized women, an octogenarian, and people from varied communities. Significantly, sales rose.

"When you ignore large portions of the population, it’s not just that you’re failing to represent – it’s bad for business," he emphasises.

Beyond the Magazine World

He has since founded his creative company EE72 and its accompanying magazine, 72, his first major project since leaving his former post. He says he wants to continue being a "disruptor".

"I constantly interrogate the established norms. I was brought up in a place where everybody was black – the doctors, the attorneys, the leader. Then we came to England, with nothing, and I was a minority. I was painfully reserved. My teachers declared I’d achieve nothing. Me and my brothers were stopped by the police the suspicion laws … those experiences gave me a sense of being on the inside and the outside."

Defying the stereotype of fashion editors as loud and highly strung, Enninful is calm and projects peace. His life has included its share of challenges, including publicly shared battles with mental health and addiction.

He has also endured significant health challenges, having had multiple operations on his eyes, resulting in impaired eyesight. "I was in such a difficult period for two years, away from work, terrified I was going to go blind. It’s like PTSD; you just live in fear 24/7. I thought, if this ever is over, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to confine myself to just being an editor or a fashion person."

Curating a Cultural Era

This drive to be defined narrowly has propelled him away from the world that built his career. He is now curating a major 1990s exhibition at Tate Britain, bringing together work by a host of pivotal artists and photographers from the era. The show, he explains, aims to explore the decade's artistic collaboration – and give platform to those who did not receive a spotlight at the time.

"Institutions sometimes neglected to shine a light on the truly innovative creators because they weren't of the right pedigree," he observes.

This project itself functions with a novel strategy, rejecting traditional advertising in favour of creative collaborations. "We ask, what can we create collaboratively? Is it an event, a podcast? The magazine is part of a broader vision."

A Testament to Resilience

Currently, Enninful stands as one of the world's most respected industry leaders. His story, he believes, is a testament to the power of pursuing your passions.

How would the Edward of the 90s think of the man he has become? He chuckles. "He would be astonished, 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. "Gratitude is key. We were displaced, we left our homeland. I almost lost my vision. So there is no room for fear. People have underestimated me my entire life. But I am unstoppable once I’ve set my intention to do something."