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

An unexpected discovery during a tube journey in 1988 transformed the course of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the city's vibrant 1990s artistic milieu, moving from model to stylist and, while still a teenager, becoming the fashion director of the publication i-D.

"It was the zenith of the YBA movement – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I understood we’d be great friends. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I yearn for that rawness."

If Enninful sounds wistful, he is not the only one. In recent times, a longing look back of the 1990s has grown intense. Yet over the last thirty years, Enninful feels a noticeable regression. "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 change is difficult to overlook: the growth of nationalist groups, the pushback against so-called "wokeness", and the reassertion of traditional beauty standards. Where once there was the hope of the Blair era, today a different political figure appears as a potential leader. Even, the British flag, once an badge of cultural optimism, has returned as a polarising symbol.

According to Enninful, the solution has always been to promote culture in all its multifaceted forms. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a wide range of influential figures from music.

"Individuals with a platform should use it," he says, referring to those editorial decisions. "There is much discussion about immigration; I would not be in this position if Britain hadn't been a open country, if it did not offer my family a refuge and an education. That’s the Britain I believed in. I trust this phase will fade."

The Younger Generation's Awareness

He draws solace in the youth of today: "Their awareness is greater than we were. They discuss implicit prejudice – I had no concept what that was."

His formative years would forge a pioneering career characterised by fearlessness and diversity. Enninful broke barriers as the first man, first Black editor, first openly gay person, and first disabled Black gay man to lead at British Vogue. His leadership featured diverse covers showcasing models of colour, plus-sized women, an octogenarian, and individuals from varied communities. Importantly, sales grew.

"To overlook 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 established his agency EE72 and its flagship publication, 72, his key endeavour since moving on from his previous role. He states his aim to continue being a "change-maker".

"I constantly interrogate the status quo. I was brought up in a place where the majority was Black – the doctors, the lawyers, the president. Then we arrived in England, penniless, and I became the 'other'. I was painfully reserved. My teachers said I’d have no future. Me and my brothers were subject to police stops the Sus laws … all that gave me a sense of being both an insider and outsider."

Defying the stereotype of fashion editors as loud and highly strung, Enninful is softly spoken and projects peace. His path has not been immune to hardship, including publicly shared battles with depression and addiction.

He has also faced serious health issues, having undergone several surgeries on his eyes, now leaving him with limited vision. "I endured such a time of fear for two years, away from work, fearing I was going to lose my sight. 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 do everything that I was so afraid to do. I’m not going to limit myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This drive to be typecast has led him away from the realm that built his career. He is now putting together a seminal 1990s exhibition at Tate Britain, featuring work by a host of pivotal artists and photographers from the era. The show, he explains, aims to evoke the decade's creative cross-pollination – and highlight those who did not receive due recognition at the time.

"Institutions often failed to celebrate the most relevant talents because they lacked the right pedigree," he observes.

This project itself functions with a novel strategy, eschewing traditional advertising in favour of partnership-based projects. "We ask, what can we create collaboratively? Is it an event, a podcast? The magazine is one component of a larger creative platform."

Looking Forward Without Fear

Today, Enninful stands as one of the world's most powerful cultural influencers. His path, he feels, is a proof to the power of following your instincts.

How would the Edward of the 90s react to the man he has become? He chuckles. "He would be astonished, but he’d be impressed. Back then I was sceptical of institutions. I would not have believed institutions like Tate were a place for someone like me."

He reflects. "I never take anything for granted. We were displaced, we fled our country. I almost lost my vision. So fear isn't an option. People have counted me out my whole career. But no obstacle is too great once I’ve set my intention to do something."