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

An unexpected discovery on the London Underground in 1988 transformed the path of a teenage Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the London's vibrant 1990s cultural landscape, evolving from model to stylist and, while still a teenager, becoming the style editor of the iconic i-D.

"It was the peak of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I felt we’d be close. We all mixed across disciplines. Friday became Saturday into Sunday. I long for that energy."

If Enninful sounds wistful, he is not the only one. Lately, a wistful romanticisation of the 1990s has grown intense. However in the intervening decades, Enninful believes a significant change. "I feel, we’re more divided now than we were in the 90s," he remarks. "This isn't just this country – it’s a global phenomenon."

A Cultural Backslide

This shift is increasingly evident: the resurgence of nationalist groups, the reaction against social awareness, and the return of traditional beauty standards. In place of the optimism of the Blair era, currently a different political figure appears as a potential leader. Furthermore, the British flag, once an badge of cultural optimism, has become contentious again.

In Enninful's view, the response has always been to celebrate culture in all its diversity. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a broad spectrum of influential figures from music.

"Individuals with a platform should use it," he asserts, discussing those editorial decisions. "People often debate about immigration; I wouldn't be here if Britain hadn't been a welcoming country, if it did not offer my family a refuge and an education. That’s the Britain I always loved. I hope this moment will end."

Hope in the Next Generation

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 pioneering career marked by boldness and diversity. Enninful broke barriers as the first male, first black man, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His leadership featured diverse covers showcasing models of colour, plus-sized women, an octogenarian, and individuals from varied communities. 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 emphasises.

Beyond the Magazine World

He has established his creative company EE72 and its flagship publication, 72, his key endeavour since moving on from his former post. He says he wants to continue being a "change-maker".

"My nature is to challenge the established norms. I was born and raised in a place where everybody was black – the doctors, the attorneys, the president. Then we came to England, with nothing, and I found myself on the margins. I was painfully reserved. My teachers declared I’d have no future. Me and my brothers were stopped by the police the suspicion laws … those experiences gave me a sense of being between worlds."

Contrary to the stereotype of industry figures as loud and highly strung, Enninful is softly spoken and radiates serenity. His path has not been immune to adversity, including openly discussed struggles with depression and substance use.

He has also undergone serious health challenges, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I endured such a dark place for two years, away from work, anxious I was going to go blind. It’s like PTSD; you just live in fear 24/7. I vowed, if this ever passes, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to limit myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This determination to be typecast has propelled him outside the industry that made his name. He is now organising a major 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 evoke the decade's interdisciplinary energy – and highlight those who did not receive due recognition at the time.

"Galleries didn't always shine a light on the truly innovative creators because they did not have the right pedigree," he comments.

This venture itself operates on a unique strategy, eschewing traditional advertising in favour of partnership-based projects. "Our approach is, what can we create collaboratively? Is it an experience, a podcast? The magazine is part of a greater ecosystem."

A Testament to Resilience

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

How 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 impressed. Back then I was a rebel. I never imagined institutions like Tate were within my reach."

He adds. "I never take anything for granted. We fled, we fled our country. I nearly lost my vision. So fear isn't an option. People have doubted me my entire life. But nothing can stop me once I’ve decided to do something."