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 young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the London's buzzing 1990s creative scene, progressing from model to stylist and, before turning twenty, becoming the style editor of the iconic i-D.

"That era was the zenith of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I understood we’d be kindred spirits. We all mixed across disciplines. Friday became Saturday into Sunday. I long for that energy."

If Enninful sounds nostalgic, he is far from alone. In recent times, a fond idealisation of the 1990s has become pervasive. Yet in the intervening decades, Enninful perceives a significant change. "I feel, we’re less tolerant now than we were in the 90s," he says. "It’s not even this country – it’s everywhere."

Shifting Attitudes

This shift is hard to ignore: the growth of populist movements, the backlash against progressive values, and the return of Eurocentric beauty standards. Where once there was the optimism of the late 90s, now a different political personality appears as a potential leader. Even, the British flag, once an symbol of national pride, has sparked debate once more.

According to Enninful, the antidote has always been to champion culture in all its multifaceted forms. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a broad spectrum of influential figures from politics.

"People with a voice should use it," he comments, explaining those editorial decisions. "Everyone talks about immigration; I would not be in this position if Britain was not a open country, if it did not offer my family a home and an opportunity. That’s the Britain I cherished. I trust this phase will pass."

The Younger Generation's Awareness

He finds hope in the next generation: "Their awareness is greater than we were. They analyse systemic issues – I didn't even know what that was."

His formative years would forge a pioneering career built on boldness and inclusivity. Enninful made history as the first male, first black man, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His tenure featured diverse covers showcasing models of colour, plus-sized women, an octogenarian, and people from varied communities. Significantly, sales increased.

"Ignoring large portions of the population, it’s not just that you’re excluding people – it’s commercially unwise," he explains.

Beyond the Magazine World

He has recently launched his new venture EE72 and its flagship publication, 72, his first major project since departing his previous role. He states his aim to continue being a "innovator".

"I constantly interrogate the conventional wisdom. I was brought up in a place where everybody was black – the physicians, the attorneys, the president. Then we came to England, with nothing, and I was a minority. I was painfully reserved. My teachers declared I’d have no future. Me and my brothers were harassed under the suspicion laws … those experiences gave me a dual identity both an insider and outsider."

Contrary to the popular image of industry figures as loud and highly strung, Enninful is measured in tone and radiates serenity. His life has involved hardship, including well-documented periods of depression and substance use.

He has also endured significant health challenges, having undergone several surgeries on his eyes, now leaving him with limited vision. "I was in such a time of fear for two years, not working, terrified I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I thought, if this ever ends, I’m just going to do everything that I was so scared to do. I’m not going to confine myself to just being an editor or a fashion person."

A Foray into Curation

This determination to fit into a box has propelled him away from the industry that made his name. He is now organising a seminal 1990s exhibition at Tate Britain, bringing together work by a host of influential artists and photographers from the era. The show, he says, aims to explore the decade's artistic collaboration – and spotlight those who lacked adequate attention at the time.

"The establishment sometimes neglected to celebrate the most relevant talents because they weren't of the traditional credentials," he states.

The magazine 72 itself operates on a novel strategy, rejecting traditional advertising in favour of integrated partnerships. "The question is, what can we achieve in partnership? Is it an event, a podcast? The magazine is a piece within a larger creative platform."

Looking Forward Without Fear

Now, Enninful operates as one of the world's most powerful industry leaders. His path, he states, is a proof to the power of following your instincts.

What would the Enninful of that era make of the man he has become? He chuckles. "It would be a surprise, but he’d be impressed. Back then I was anti-establishment. I would not have believed institutions like Tate were a place for someone like me."

He reflects. "Gratitude is key. We fled, we left our homeland. I almost lost my vision. So fear isn't an option. People have underestimated me my whole career. But I am unstoppable once I’ve set my intention to do something."