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

An unexpected discovery during a tube journey in 1988 transformed the course of a young Ghanaian arrival 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, by the age of 18, becoming the style editor of the iconic i-D.

"It was the zenith of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I understood we’d be close. We all socialised across disciplines. Friday bled into Saturday into Sunday. I miss that spontaneity."

If Enninful sounds wistful, he is not the only one. In recent times, a fond idealisation of the 1990s has reached fever pitch. However since that time, Enninful feels a significant change. "I believe, we’re less tolerant now than we were in the 90s," he observes. "The issue extends beyond this country – it’s a global phenomenon."

A Perceived Regression

This change is hard to ignore: the growth of far-right politics, the reaction against social awareness, and the return of Eurocentric beauty standards. In place of the optimism of the previous decade, currently a different political figure stands as a potential leader. Furthermore, the Union Jack, once an badge of cultural optimism, has sparked debate once more.

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

"Those in a position of influence should employ it," he comments, referring to those editorial decisions. "Everyone talks about immigration; I could not have had this life if Britain were not a welcoming country, if it hadn't given my family a home and an opportunity. That’s the Britain I cherished. I hope this period will end."

A New Wave of Consciousness

He draws solace in the youth of today: "They are far more conscious than we were. They discuss unconscious bias – I had no concept what that was."

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

"Ignoring vast segments of the population, it’s more than that you’re failing to represent – it’s a poor strategy," he states.

A New Chapter as a 'Disruptor'

He has recently launched his new venture EE72 and its accompanying magazine, 72, his premier initiative since moving on from his previous role. He expresses a desire to continue being a "innovator".

"I constantly interrogate the status quo. I was born and raised in a place where the majority was Black – the doctors, the attorneys, the leader. Then we arrived in England, penniless, and I became the 'other'. I was very shy. My teachers said I’d have no future. Me and my brothers were stopped by the police the Sus laws … all that gave me a dual identity between worlds."

Defying the caricature of industry figures as loud and highly strung, Enninful is measured in tone and radiates serenity. His life has included its share of adversity, including openly discussed struggles with mental health and addiction.

He has also endured serious health challenges, having had multiple operations on his eyes, leading to partial sight. "I experienced such a difficult period for two years, not working, fearing I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I thought, if this ever passes, I’m just going to do everything that I was so scared to do. I’m not going to limit myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This refusal to fit into a box has propelled him beyond the realm that built his career. He is now organising a seminal 1990s exhibition at Tate Britain, showcasing work by a roster of defining 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 adequate attention at the time.

"The establishment often failed to promote the truly innovative creators because they lacked the expected background," he observes.

This venture itself operates on a different approach, eschewing traditional advertising in favour of integrated partnerships. "The question is, what can we do together? Is it an event, a podcast? The magazine is part of a larger creative platform."

A Testament to Resilience

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

What would the Enninful of that era make of the his current self? He chuckles. "He’d be in shock, but he’d be proud. At that time I was sceptical of institutions. I never imagined institutions like Tate were necessarily for me."

He reflects. "Gratitude is key. We were displaced, we left our homeland. I almost lost my vision. So there is no room for fear. People have underestimated me my whole career. But no obstacle is too great once I’ve made up my mind to do something."