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

A chance encounter on the London Underground in 1988 altered the path of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the capital's electric 1990s artistic milieu, evolving from model to stylist and, before turning twenty, becoming the style editor of the iconic i-D.

"It was the height 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 kindred spirits. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I miss that rawness."

While Enninful may seem nostalgic, he is not the only one. Recently, a longing look back of the 1990s has grown intense. But in the intervening decades, Enninful perceives a profound shift. "I believe, we’re more divided now than we were in the 90s," he observes. "It’s not even this country – it’s a global phenomenon."

A Perceived Regression

This shift is hard to ignore: the rise of far-right politics, the pushback against progressive values, and the reassertion of Eurocentric beauty standards. Replacing the optimism of the Blair era, now a different political personality stands as a potential leader. Even, the Union Jack, once an badge of cultural optimism, has sparked debate once more.

For Enninful, the response has long been to promote culture in all its diversity. 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 prominent faces from literature.

"Those in a position of influence should employ it," he comments, referring to those publishing choices. "People often debate about immigration; I would not be in this position if Britain hadn't been a open country, if it refused my family a home and an opportunity. That’s the Britain I cherished. I trust this moment will pass."

Hope in the Next Generation

He takes comfort in the youth of today: "They’re much more aware than we were. They talk about unconscious bias – I had no concept what that was."

His formative years would shape a pioneering career marked by boldness and diversity. Enninful broke barriers as the first male, first black man, first gay man, and first disabled gay man of colour to lead at British Vogue. His tenure featured diverse covers showcasing people of diverse backgrounds, curvy models, an octogenarian, and individuals from all walks of life. Critically, sales rose.

"To overlook vast segments of the population, it’s more than that you’re failing to represent – it’s a poor strategy," he states.

A New Chapter as a 'Disruptor'

He has recently launched his new venture EE72 and its flagship publication, 72, his key endeavour since leaving his former post. He expresses a desire to continue being a "innovator".

"I’ve always questioned the established norms. I was born and raised in a place where Black professionals were the norm – the doctors, the lawyers, the leader. Then we arrived in England, penniless, and I was a minority. I was very shy. My teachers declared I’d never amount to anything. Me and my brothers were subject to police stops the suspicion laws … those experiences gave me a dual identity between worlds."

Defying the stereotype of industry figures as loud and temperamental, Enninful is measured in tone and radiates serenity. His life has included its share of hardship, including publicly shared struggles with depression and substance use.

He has also endured significant health challenges, having undergone several surgeries on his eyes, leading to impaired eyesight. "I endured such a time of fear for two years, away from work, anxious I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I prayed, if this ever is over, I’m just going to pursue all that I was so afraid to do. I’m not going to limit myself to just being an editor or a fashion person."

A Foray into Curation

This drive to fit into a box has led him away from the industry that built his career. He is now organising a seminal 1990s exhibition at Tate Britain, bringing together work by a host of pivotal artists and photographers from the era. The show, he says, aims to explore the decade's interdisciplinary energy – and give platform to those who lacked a spotlight at the time.

"Institutions often failed to shine a light on the truly innovative creators because they lacked the traditional credentials," he comments.

The magazine 72 itself uses a unique strategy, eschewing traditional advertising in favour of creative collaborations. "We ask, what can we do together? Is it an event, a podcast? The magazine is a piece within a broader vision."

A Testament to Resilience

Today, Enninful is regarded as one of the world's most powerful creative power brokers. His story, he states, is a demonstration to the power of pursuing your passions.

How would the Edward of the 90s react to the his current self? He chuckles. "He’d be in shock, but he’d be pleased. Back then I was anti-establishment. 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 came close to losing my vision. So there is no room for fear. People have counted me out my entire life. But no obstacle is too great once I’ve made up my mind to do something."