Edward Enninful on Modern Britain: 'A Decline in Tolerance' Than in the 90s.

An unexpected discovery while riding the tube in 1988 altered the trajectory of a young Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was quickly drawn into the capital's buzzing 1990s artistic milieu, moving from mannequin to stylist and, before turning twenty, becoming the fashion director of i-D magazine.

"It was the height of the YBA movement – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I felt we’d be close. We all mixed across disciplines. Friday bled into Saturday into Sunday. I yearn for that spontaneity."

If Enninful sounds nostalgic, he is not the only one. In recent times, a fond idealisation of the 1990s has reached fever pitch. Yet over the last thirty years, Enninful perceives a significant change. "I believe, we’re less tolerant now than we were in the 90s," he remarks. "It’s not even this country – it’s a global phenomenon."

Shifting Attitudes

This shift is difficult to overlook: the growth of populist movements, the pushback against so-called "wokeness", and the reassertion of narrow beauty standards. Replacing the hope of the late 90s, currently a more divisive political force looms as a potential leader. Even, the British flag, once an symbol of Cool Britannia, has sparked debate once more.

For Enninful, the antidote has always been to champion culture in all its multifaceted forms. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a broad spectrum of influential figures from politics.

"Individuals with a platform should use it," he asserts, discussing those editorial decisions. "Everyone talks about immigration; I wouldn't be here 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 hope this period will end."

Hope in the Next Generation

He draws solace in the next generation: "They are far more conscious than we were. They analyse systemic issues – I was not even aware what that was."

The beginnings of his career would define a pioneering career characterised by boldness and representation. Enninful made history 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 diverse covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and individuals from varied communities. Significantly, sales increased.

"Ignoring large portions of the population, it’s not just that you’re not being inclusive – it’s commercially unwise," he emphasises.

Beyond the Magazine World

He has since founded his creative company EE72 and its accompanying magazine, 72, his premier initiative since leaving his previous role. He expresses a desire to continue being a "innovator".

"My nature is to challenge the status quo. I was born and raised in a place where everybody was black – the physicians, the lawyers, the leader. Then we came to England, without funds, and I became the 'other'. I was very shy. My teachers declared I’d never amount to anything. Me and my brothers were harassed under the suspicion laws … those experiences gave me a dual identity both an insider and outsider."

In contrast to the popular image of fashion editors as brash and highly strung, Enninful is measured in tone and exudes calm. His path has included its share of adversity, including publicly shared struggles with depression and addiction.

He has also undergone serious health issues, having undergone several surgeries on his eyes, leading to impaired eyesight. "I was in such a difficult period for two years, not working, fearing I was going to go blind. It’s comparable to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever is over, I’m just going to pursue all that I was so scared to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This determination to fit into a box has propelled him away from the world that built his career. He is now curating a seminal 1990s exhibition at Tate Britain, bringing together work by a roster of influential artists and photographers from the era. The show, he notes, aims to explore the decade's artistic collaboration – and highlight those who weren't given a spotlight at the time.

"Galleries didn't always promote the most relevant talents because they weren't of the traditional credentials," he states.

This venture itself functions with a unique business model, rejecting traditional advertising in favour of creative collaborations. "Our approach is, what can we achieve in partnership? Is it an experience, a series? The magazine is part of a larger creative platform."

A Testament to Resilience

Today, Enninful operates as one of the world's most influential industry leaders. His path, he believes, is a demonstration to the power of pursuing your passions.

How would the Enninful of that era think of the man he has become? He smiles. "He’d be in shock, but he’d be pleased. Back then I was a rebel. I would not have believed institutions like Tate were a place for someone like me."

He reflects. "Gratitude is key. We were displaced, we fled our country. I nearly lost my vision. So fear isn't an option. People have doubted me my entire life. But nothing can stop me once I’ve set my intention to do something."