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

A chance encounter while riding the tube in 1988 changed forever the trajectory of a teenage Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the London's buzzing 1990s cultural landscape, evolving from model to stylist and, while still a teenager, becoming the fashion director of i-D magazine.

"That time was the peak of the Britart scene – Jay Jopling, Tracey Emin. I encountered 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 bled into Saturday into Sunday. I miss that energy."

If Enninful sounds sentimental, he is not the only one. Recently, a fond idealisation of the 1990s has reached fever pitch. However since that time, Enninful perceives a profound shift. "I believe, we’re more divided now than we were in the 90s," he says. "The issue extends beyond this country – it’s everywhere."

A Perceived Regression

This change is hard to ignore: the growth of nationalist groups, the pushback against social awareness, and the reassertion of traditional beauty standards. Replacing the optimism of the previous decade, now a more divisive political force stands as a possible leader. Furthermore, the Union Jack, once an emblem of national pride, has returned as a polarising symbol.

In Enninful's view, the response has always 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 portrait of modern Britain, featuring a wide range of cultural icons from politics.

"Those in a position of influence should use 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 refuge and an education. That’s the Britain I believed in. I trust this phase will pass."

The Younger Generation's Awareness

He draws solace in the next generation: "They’re much more aware than we were. They talk about unconscious bias – I was not even aware what that was."

The beginnings of his career would forge a groundbreaking career characterised by boldness and diversity. Enninful made history as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His leadership featured historic front pages showcasing Black models, curvy models, older individuals, and people from varied communities. Critically, sales rose.

"When you ignore vast segments of the population, it’s not just that you’re excluding people – it’s a poor strategy," he explains.

Beyond the Magazine World

He has recently launched his new venture EE72 and its accompanying magazine, 72, his key endeavour since moving on from his previous role. He says he wants to continue being a "innovator".

"I constantly interrogate the conventional wisdom. I was raised in a place where the majority was Black – the physicians, the attorneys, the leader. Then we came to England, penniless, and I was a minority. I was very shy. My teachers declared I’d have no future. Me and my brothers were stopped by the police the suspicion laws … all that gave me a dual identity between worlds."

In contrast to the caricature of fashion editors as loud and temperamental, Enninful is softly spoken and projects peace. His path has included its share of challenges, including well-documented periods of depression and substance use.

He has also endured significant health challenges, having had multiple operations on his eyes, now leaving him with limited vision. "I was in such a time of fear for two years, not working, fearing I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I thought, if this ever passes, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to confine myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This drive to be defined narrowly has led him beyond the industry that built his career. He is now organising a seminal 1990s exhibition at Tate Britain, showcasing work by a host of pivotal artists and photographers from the era. The show, he explains, aims to explore the decade's creative cross-pollination – and highlight those who did not receive a spotlight at the time.

"Institutions often failed to promote the truly innovative creators because they did not have the right pedigree," he comments.

This project itself uses a novel business model, forgoing traditional advertising in favour of creative collaborations. "We ask, what can we do together? Is it an experience, a podcast? The magazine is part of a larger creative platform."

An Unstoppable Drive

Today, Enninful stands as one of the world's most influential industry leaders. His path, he feels, is a demonstration to the power of following your instincts.

What would the Edward of the 90s make of the Edward of today? He laughs heartily. "He’d be in shock, but he’d be pleased. At that time I was sceptical of institutions. I would not have believed institutions like Tate were a place for someone like me."

He reflects. "Nothing is assumed. We lost our home, we left our homeland. I nearly lost my vision. So fear is not a factor. People have counted me out my whole career. But nothing can stop me once I’ve made up my mind to do something."