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

A serendipitous meeting while riding the tube in 1988 altered the course of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the city's vibrant 1990s creative scene, progressing from mannequin to stylist and, by the age of 18, becoming the fashion director of i-D magazine.

"It was the height of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I felt we’d be great friends. We all mixed across disciplines. Friday became Saturday into Sunday. I long for that spontaneity."

If Enninful sounds wistful, he is in good company. In recent times, a fond idealisation of the 1990s has grown intense. But in the intervening decades, Enninful perceives a profound shift. "I feel, we’re more divided now than we were in the 90s," he observes. "The issue extends beyond this country – it’s a global phenomenon."

A Perceived Regression

This regression is difficult to overlook: the growth of far-right politics, the backlash against so-called "wokeness", and the return of narrow beauty standards. Where once there was the optimism of the Blair era, currently a more divisive political figure looms as a possible leader. Even, the British flag, once an symbol of Cool Britannia, has become contentious again.

In Enninful's view, the solution has long been to promote culture in all its diversity. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a diverse array of cultural icons from art.

"Those in a position of influence should employ it," he asserts, discussing those editorial decisions. "Everyone talks about immigration; I could not have had this life if Britain was not a welcoming country, if it did not offer my family a home and an opportunity. That’s the Britain I believed in. I hope this phase will fade."

Hope in the Next Generation

He finds hope in the youth of today: "Their awareness is greater than we were. They discuss implicit prejudice – I was not even aware what that was."

Those early experiences would shape a trailblazing career marked by boldness and diversity. Enninful broke barriers as the first male, first black man, first gay man, and first disabled Black gay man to lead at British Vogue. His time featured landmark covers showcasing models of colour, plus-sized women, older individuals, and people from varied communities. Importantly, sales grew.

"Ignoring large portions of the population, it’s not just that you’re excluding people – it’s a poor strategy," he emphasises.

Beyond the Magazine World

He has established his agency EE72 and its accompanying magazine, 72, his key endeavour since departing his former post. He expresses a desire to continue being a "disruptor".

"My nature is to challenge the conventional wisdom. I was born and raised in a place where everybody was black – the physicians, the attorneys, the leader. Then we arrived in England, with nothing, and I was a minority. I was painfully reserved. My teachers said I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … this duality gave me a dual identity both an insider and outsider."

Defying the stereotype of industry figures as loud and highly strung, Enninful is calm and radiates serenity. His path has included its share of adversity, including openly discussed battles with depression and substance use.

He has also faced significant health issues, having undergone several surgeries on his eyes, leading to impaired eyesight. "I was in such a difficult period for two years, away from work, terrified I was going to go blind. It’s like PTSD; you just live in fear 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 restrict myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This determination to be typecast has propelled him outside the realm that established him. He is now curating a significant 1990s exhibition at Tate Britain, bringing together work by a roster of defining artists and photographers from the era. The show, he says, aims to evoke the decade's interdisciplinary energy – and give platform to those who weren't given a spotlight at the time.

"The establishment didn't always promote the most relevant talents because they did not have the right pedigree," he states.

This project itself uses a unique approach, forgoing traditional advertising in favour of creative collaborations. "The question is, what can we create collaboratively? Is it an experience, a series? The magazine is a piece within a broader vision."

An Unstoppable Drive

Currently, Enninful operates as one of the world's most respected industry leaders. His journey, he feels, is a proof to the power of defying expectations.

How would the Enninful of that era make of the man he has become? He smiles. "He would be astonished, but he’d be proud. In those days I was a rebel. I didn't think institutions like Tate were necessarily for me."

He pauses. "Nothing is assumed. We were displaced, we left our homeland. I nearly lost my vision. So there is no room for fear. People have underestimated me my whole career. But nothing can stop me once I’ve made up my mind to do something."