Edward Enninful on Modern Britain: 'A Decline in Tolerance' Compared to the Nineties.

An unexpected discovery while riding the tube in 1988 altered the course of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the capital's electric 1990s creative scene, evolving from mannequin to stylist and, before turning twenty, becoming the style editor of the iconic i-D.

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

If Enninful sounds sentimental, he is not the only one. Lately, a wistful romanticisation of the 1990s has become pervasive. But since that time, Enninful believes a significant change. "I feel, we’re more divided now than we were in the 90s," he observes. "It’s not even this country – it’s a global phenomenon."

Shifting Attitudes

This change is difficult to overlook: the rise of populist movements, the pushback against so-called "wokeness", and the reassertion of narrow beauty standards. Where once there was the hope of the previous decade, currently a more divisive political force stands as a possible leader. Even, the Union Jack, once an badge of Cool Britannia, has sparked debate once more.

For Enninful, the antidote has long been to promote culture in all its diversity. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a wide range of prominent faces from music.

"Those in a position of influence should employ it," he says, explaining those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain was not a lenient country, if it hadn't given my family a refuge and an education. That’s the Britain I always loved. I trust this moment will end."

A New Wave of Consciousness

He takes comfort in the younger generation: "They’re much more aware than we were. They discuss unconscious bias – I didn't even know what that was."

His formative years would define a trailblazing career built on boldness and inclusivity. Enninful set a precedent as the first male, first Black editor, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His time featured historic front pages showcasing models of colour, curvy models, an octogenarian, and individuals from all walks of life. Significantly, sales grew.

"Ignoring huge sections of the population, it’s not just that you’re failing to represent – it’s commercially unwise," he explains.

Beyond the Magazine World

He has since founded his new venture EE72 and its accompanying magazine, 72, his key endeavour since moving on from his previous role. He expresses a desire to continue being a "disruptor".

"My nature is to challenge the established norms. I was raised in a place where Black professionals were the norm – the doctors, the attorneys, the president. Then we came to England, without funds, and I became the 'other'. I was very shy. My teachers predicted I’d have no future. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a unique perspective on the inside and the outside."

Defying the caricature of industry figures as loud and highly strung, Enninful is softly spoken and exudes calm. His journey has involved hardship, including publicly shared struggles with depression and substance use.

He has also faced significant health challenges, having undergone several surgeries on his eyes, resulting in limited vision. "I was in such a dark place for two years, away from work, terrified I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I thought, if this ever ends, I’m just going to pursue all that I was so afraid to do. I’m not going to limit myself to just being an editor or a figure in fashion."

A Foray into Curation

This determination to fit into a box has inspired him away from the realm that built his career. He is now curating a significant 1990s exhibition at Tate Britain, featuring work by a roster of pivotal artists and photographers from the era. The show, he notes, aims to explore the decade's creative cross-pollination – and spotlight those who weren't given a spotlight at the time.

"Institutions sometimes neglected to celebrate the truly innovative creators because they weren't of the traditional credentials," he observes.

This project itself functions with a novel business model, forgoing traditional advertising in favour of creative collaborations. "We ask, what can we create collaboratively? Is it an experience, a podcast? The magazine is one component of a larger creative platform."

An Unstoppable Drive

Today, Enninful operates as one of the world's most respected cultural influencers. His story, he believes, is a demonstration to the power of pursuing your passions.

What would the Enninful of that era react to the his current self? He smiles. "He’d be in shock, but he’d be pleased. At that time I was anti-establishment. I never imagined institutions like Tate were a place for someone like me."

He adds. "Nothing is assumed. 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 I am unstoppable once I’ve decided to do something."