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

A serendipitous meeting during a tube journey in 1988 changed forever the trajectory of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the London's buzzing 1990s artistic milieu, progressing from model to stylist and, before turning twenty, becoming the style editor of the publication i-D.

"It was the height of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I knew we’d be kindred spirits. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I miss that spontaneity."

While Enninful may seem sentimental, he is far from alone. Recently, a longing look back of the 1990s has reached fever pitch. Yet since that time, Enninful feels a profound shift. "I believe, we’re less tolerant now than we were in the 90s," he says. "It’s not even this country – it’s a global phenomenon."

A Perceived Regression

This regression is hard to ignore: the rise of far-right politics, the reaction against so-called "wokeness", and the reinforcement of narrow beauty standards. In place of the optimism of the late 90s, currently a different political force appears as a possible leader. Even, the Union Jack, once an badge of national pride, has returned as a polarising symbol.

According to Enninful, the response has always been to celebrate culture in all its variety. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a broad spectrum of cultural icons from politics.

"People with a voice should wield it," he says, referring to those publishing choices. "People often debate about immigration; I could not have had this life if Britain was not a open country, if it refused my family a home and an education. That’s the Britain I believed in. I believe this phase will end."

Hope in the Next Generation

He draws solace in the younger generation: "Their awareness is greater than we were. They talk about unconscious bias – I didn't even know what that was."

His formative years would shape a pioneering career built on boldness and representation. Enninful set a precedent as the first man, first Black editor, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His time featured historic front pages showcasing people of diverse backgrounds, curvy models, an octogenarian, and individuals from varied communities. Critically, sales grew.

"Ignoring vast segments of the population, it’s not just that you’re failing to represent – it’s commercially unwise," 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 moving on from his previous role. He expresses a desire to continue being a "change-maker".

"I’ve always questioned the status quo. I was born and raised in a place where everybody was black – the physicians, the attorneys, the president. Then we came to England, without funds, and I was a minority. I was painfully reserved. My teachers declared I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … those experiences gave me a unique perspective between worlds."

In contrast to the caricature of fashion editors as loud and highly strung, Enninful is softly spoken and radiates serenity. His life has involved hardship, including openly discussed battles with mental health and addiction.

He has also endured serious health challenges, having undergone several surgeries on his eyes, now leaving him with limited vision. "I was in such a difficult period for two years, away from work, anxious I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I prayed, if this ever ends, 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 refusal to be typecast has led him outside the world that established him. He is now curating a major 1990s exhibition at Tate Britain, bringing together work by a host of defining artists and photographers from the era. The show, he notes, aims to capture the decade's artistic collaboration – and give platform to those who lacked due recognition at the time.

"The establishment sometimes neglected to shine a light on the most relevant talents because they weren't of the traditional credentials," he states.

The magazine 72 itself uses a novel approach, eschewing traditional advertising in favour of creative collaborations. "The question is, what can we achieve in partnership? Is it an event, a series? The magazine is a piece within a broader vision."

An Unstoppable Drive

Currently, Enninful is regarded as one of the world's most influential industry leaders. His story, he states, is a testament to the power of defying expectations.

How would the younger Edward make of the his current self? He smiles. "He’d be in shock, but he’d be proud. In those days 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 fled our country. I almost lost my vision. So fear isn't an option. People have underestimated me my whole career. But no obstacle is too great once I’ve set my intention to do something."