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

A chance encounter on the London Underground in 1988 altered the path of a teenage Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the city's buzzing 1990s creative scene, moving from mannequin to stylist and, while still a teenager, becoming the style editor of i-D magazine.

"It was the zenith of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I felt we’d be kindred spirits. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I miss that energy."

While Enninful may seem nostalgic, he is far from alone. In recent times, a fond idealisation of the 1990s has grown intense. However in the intervening decades, Enninful perceives a significant change. "I believe, we’re less tolerant now than we were in the 90s," he says. "This isn't just this country – it’s worldwide."

Shifting Attitudes

This change is hard to ignore: the growth of populist movements, the backlash against so-called "wokeness", and the reassertion of traditional beauty standards. Replacing the hope of the Blair era, currently a more divisive political figure stands as a potential leader. Even, the Union Jack, once an emblem of national pride, has become contentious again.

According to Enninful, the response has always been to champion culture in all its multifaceted forms. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a broad spectrum of prominent faces from art.

"People with a voice should wield it," he asserts, discussing those editorial decisions. "Everyone talks about immigration; I would not be in this position if Britain hadn't been a lenient country, if it refused my family a home and an education. That’s the Britain I always loved. I hope this moment will end."

Hope in the Next Generation

He takes comfort in the youth of today: "They are far more conscious than we were. They discuss implicit prejudice – I was not even aware what that was."

The beginnings of his career would forge a trailblazing career characterised by fearlessness and representation. Enninful broke barriers as the first male, first Black editor, first gay man, and first disabled gay man of colour to lead at British Vogue. His leadership featured historic front pages showcasing Black models, plus-sized women, an octogenarian, and people from varied communities. Significantly, sales increased.

"To overlook huge sections of the population, it’s more than that you’re not being inclusive – it’s a poor strategy," 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 expresses a desire to continue being a "disruptor".

"I constantly interrogate the status quo. I was born and raised in a place where everybody was black – the doctors, the lawyers, the president. Then we came to England, without funds, and I found myself on the margins. I was painfully reserved. My teachers declared I’d have no future. Me and my brothers were subject to police stops the Sus laws … all that gave me a dual identity both an insider and outsider."

Defying the popular image of industry figures as brash and temperamental, Enninful is measured in tone and radiates serenity. His journey has included its share of challenges, including openly discussed periods of depression and addiction.

He has also endured serious health issues, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I endured such a time of fear for two years, away from work, anxious I was going to go blind. It’s comparable to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever passes, I’m just going to do everything that I was so scared to do. I’m not going to restrict myself to just being an editor or a fashion person."

Curating a Cultural Era

This determination to be defined narrowly has inspired him beyond the realm that made his name. He is now curating a major 1990s exhibition at Tate Britain, showcasing 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 give platform to those who lacked a spotlight at the time.

"Institutions didn't always shine a light on the right artists because they lacked the traditional credentials," he states.

This venture itself operates on a different approach, eschewing traditional advertising in favour of partnership-based projects. "The question is, what can we create collaboratively? Is it an experience, a series? The magazine is part of a broader vision."

Looking Forward Without Fear

Now, Enninful stands as one of the world's most respected industry leaders. His story, he believes, is a testament to the power of following your instincts.

What would the Enninful of that era think of the Edward of today? He smiles. "He would be astonished, but he’d be impressed. At that time I was sceptical of institutions. I didn't think 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 is not a factor. People have doubted me my entire life. But I am unstoppable once I’ve set my intention to do something."