Edward Enninful discusses Modern Britain: 'We Are Less Tolerant Now' Than We Were Decades Ago.

A chance encounter while riding the tube in 1988 transformed the trajectory of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the London's vibrant 1990s cultural landscape, progressing from mannequin to stylist and, before turning twenty, becoming the style editor of the iconic i-D.

"It was the peak of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I knew we’d be kindred spirits. We all socialised across disciplines. Friday bled into Saturday into Sunday. I long for that spontaneity."

Although Enninful appears sentimental, he is far from alone. In recent times, a fond idealisation of the 1990s has reached fever pitch. But since that time, Enninful perceives a profound shift. "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 increasingly evident: the growth of far-right politics, the pushback against so-called "wokeness", and the reassertion of narrow beauty standards. In place of the hope of the previous decade, today a more divisive political personality looms as a potential leader. Furthermore, the British flag, once an badge of Cool Britannia, has sparked debate once more.

According to Enninful, the response has consistently been to celebrate culture in all its variety. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a diverse array of influential figures from politics.

"People with a voice should wield it," he asserts, discussing those publishing choices. "Everyone talks about immigration; I could not have had this life if Britain were not a lenient country, if it did not offer my family a refuge and an education. That’s the Britain I always loved. I believe this period will end."

Hope in the Next Generation

He finds hope in the younger generation: "They’re much more aware than we were. They discuss implicit prejudice – I was not even aware what that was."

The beginnings of his career would define a pioneering career characterised by boldness and diversity. Enninful set a precedent 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 leadership featured landmark covers showcasing people of diverse backgrounds, curvy models, older individuals, and people from all walks of life. Critically, sales increased.

"To overlook large portions of the population, it’s more than that you’re not being inclusive – it’s commercially unwise," he explains.

Beyond the Magazine World

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

"I constantly interrogate the conventional wisdom. I was raised in a place where everybody was black – the physicians, the attorneys, the leader. Then we came to England, with nothing, and I was a minority. I was very shy. My teachers declared I’d achieve nothing. Me and my brothers were harassed under the Sus laws … those experiences gave me a dual identity both an insider and outsider."

Defying the caricature of fashion editors as loud and highly strung, Enninful is softly spoken and radiates serenity. His journey has involved adversity, including openly discussed battles with depression and addiction.

He has also undergone serious health issues, having undergone several surgeries on his eyes, now leaving him with partial sight. "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 exist in a state of dread 24/7. I thought, if this ever passes, I’m just going to pursue all that I was so afraid to do. I’m not going to confine myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This determination to be defined narrowly has propelled him away from the world that established him. He is now putting together a significant 1990s exhibition at Tate Britain, bringing together work by a host of pivotal artists and photographers from the era. The show, he notes, aims to capture the decade's artistic collaboration – and highlight those who lacked adequate attention at the time.

"Galleries sometimes neglected to shine a light on the most relevant talents because they did not have the traditional credentials," he comments.

The magazine 72 itself functions with a different strategy, rejecting traditional advertising in favour of creative collaborations. "Our approach is, what can we achieve in partnership? Is it an event, a series? The magazine is one component of a greater ecosystem."

An Unstoppable Drive

Now, Enninful operates as one of the world's most respected cultural influencers. His journey, he feels, is a demonstration to the power of pursuing your passions.

What would the younger Edward make of the Edward of today? He chuckles. "It would be a surprise, but he’d be impressed. Back then I was sceptical of institutions. I would not have believed institutions like Tate were necessarily for me."

He adds. "Gratitude is key. We were displaced, we left our homeland. I nearly lost my vision. So fear isn't an option. People have underestimated me my entire life. But nothing can stop me once I’ve set my intention to do something."