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

A serendipitous meeting while riding the tube in 1988 altered the course of a teenage Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the London's buzzing 1990s creative scene, moving from mannequin to stylist and, while still a teenager, becoming the fashion director of the publication i-D.

"That era was the peak of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I felt we’d be close. We all mixed across disciplines. Friday bled into Saturday into Sunday. I miss that spontaneity."

Although Enninful appears sentimental, he is not the only one. Lately, a longing look back of the 1990s has grown intense. Yet since that time, Enninful believes a noticeable regression. "I feel, we’re less accepting now than we were in the 90s," he observes. "This isn't just this country – it’s a global phenomenon."

Shifting Attitudes

This regression is hard to ignore: the rise 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, now a more divisive political personality appears as a possible leader. Furthermore, the Union Jack, once an symbol of Cool Britannia, has returned as a polarising symbol.

In Enninful's view, the solution has always been to champion culture in all its variety. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a broad spectrum of prominent faces from politics.

"People with a voice should use it," he comments, referring to those publishing choices. "There is much discussion about immigration; I would not be in this position if Britain were not a lenient country, if it did not offer my family a refuge and an opportunity. That’s the Britain I cherished. I hope this moment will end."

Hope in the Next Generation

He draws solace in the next generation: "They are far more conscious than we were. They talk about unconscious bias – I didn't even know what that was."

His formative years would forge a trailblazing career built on fearlessness and diversity. Enninful made history as the first male, first black man, first gay man, and first disabled Black gay man to take the helm at British Vogue. His time featured landmark covers showcasing models of colour, curvy models, older individuals, and people from all walks of life. Significantly, sales grew.

"When you ignore large portions of the population, it’s not just that you’re failing to represent – it’s bad for business," he states.

Launching a Creative Venture

He has since founded his creative company EE72 and its flagship publication, 72, his key endeavour since departing his previous role. He expresses a desire to continue being a "innovator".

"I’ve always questioned the established norms. I was brought up in a place where Black professionals were the norm – the doctors, the lawyers, the president. Then we came to England, with nothing, and I found myself on the margins. I was incredibly timid. My teachers said I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … those experiences gave me a sense of being between worlds."

Contrary to the caricature of fashion editors as brash and highly strung, Enninful is measured in tone and exudes calm. His path has involved hardship, including publicly shared struggles with mental health and substance use.

He has also undergone significant health issues, having had multiple operations on his eyes, resulting in partial sight. "I was in such a dark place 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 ends, I’m just going to pursue all that I was so afraid to do. I’m not going to confine myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This drive to be typecast has inspired him outside the industry that built his career. He is now curating a seminal 1990s exhibition at Tate Britain, bringing together work by a group of influential artists and photographers from the era. The show, he explains, aims to explore the decade's creative cross-pollination – and give platform to those who did not receive a spotlight at the time.

"Galleries often failed to promote the right artists because they weren't of the traditional credentials," he states.

The magazine 72 itself operates on a novel business model, eschewing traditional advertising in favour of integrated partnerships. "Our approach is, what can we create collaboratively? Is it an experience, a podcast? The magazine is part of a broader vision."

A Testament to Resilience

Today, Enninful stands as one of the world's most influential industry leaders. 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 would be astonished, but he’d be pleased. At that time I was anti-establishment. I didn't think institutions like Tate were a place for someone like me."

He reflects. "I never take anything for granted. We fled, we fled our country. I came close to losing my vision. So fear is not a factor. People have counted me out my entire life. But no obstacle is too great once I’ve made up my mind to do something."