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

An unexpected discovery on the London Underground in 1988 altered the path of a teenage Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the city's buzzing 1990s creative scene, progressing from mannequin to stylist and, before turning twenty, becoming the fashion director of i-D magazine.

"That time was the peak of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I felt we’d be great friends. We all hung out across disciplines. Friday bled into Saturday into Sunday. I long for that spontaneity."

While Enninful may seem sentimental, he is not the only one. In recent times, a longing look back of the 1990s has become pervasive. However in the intervening decades, Enninful believes a profound shift. "In my view, we’re less tolerant now than we were in the 90s," he observes. "This isn't just this country – it’s a global phenomenon."

Shifting Attitudes

This shift is hard to ignore: the rise of populist movements, the backlash against progressive values, and the return of Eurocentric beauty standards. Where once there was the optimism of the Blair era, now a more divisive political personality stands as a possible leader. Even, the Union Jack, once an badge of national pride, has returned as a polarising symbol.

In Enninful's view, the response has consistently been to promote culture in all its variety. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a diverse array of prominent faces from art.

"Those in a position of influence should use it," he asserts, referring to those editorial decisions. "People often debate about immigration; I wouldn't be here if Britain were not a welcoming country, if it hadn't given my family a home and an opportunity. That’s the Britain I believed in. I trust this phase will fade."

The Younger Generation's Awareness

He takes comfort in the youth of today: "Their awareness is greater than we were. They talk about unconscious bias – I was not even aware what that was."

His formative years would forge a groundbreaking career marked by fearlessness and inclusivity. Enninful set a precedent as the first man, first Black editor, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His tenure featured historic front pages showcasing models of colour, plus-sized women, older individuals, and people from varied communities. Significantly, sales increased.

"When you ignore large portions of the population, it’s not just that you’re excluding people – it’s commercially unwise," he explains.

Beyond the Magazine World

He has recently launched his creative company EE72 and its accompanying magazine, 72, his premier initiative since leaving his previous role. He says he wants to continue being a "disruptor".

"I’ve always questioned the status quo. I was raised in a place where the majority was Black – the physicians, the lawyers, the leader. Then we came to England, penniless, and I became the 'other'. I was very shy. My teachers said I’d have no future. Me and my brothers were subject to police stops the Sus laws … those experiences gave me a unique perspective both an insider and outsider."

Defying the caricature of industry figures as brash and temperamental, Enninful is softly spoken and projects peace. His path has involved adversity, including publicly shared periods of depression and substance use.

He has also faced significant health issues, having had multiple operations on his eyes, leading to limited vision. "I endured such a time of fear for two years, away from work, terrified I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I prayed, if this ever ends, I’m just going to do everything that I was so fearful to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This drive to be defined narrowly has led him away from the world that built his career. He is now putting together a seminal 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 interdisciplinary energy – and give platform to those who weren't given a spotlight at the time.

"Galleries didn't always promote the most relevant talents because they lacked the traditional credentials," he observes.

This venture itself uses a different business model, forgoing traditional advertising in favour of creative collaborations. "Our approach is, what can we achieve in partnership? Is it an event, a podcast? The magazine is a piece within a broader vision."

An Unstoppable Drive

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

What would the Enninful of that era react to the man he has become? He laughs heartily. "He would be astonished, but he’d be impressed. Back then I was sceptical of institutions. I would not have believed institutions like Tate were necessarily for me."

He pauses. "Nothing is assumed. We fled, we left our homeland. I nearly lost my vision. So fear is not a factor. People have counted me out my whole career. But I am unstoppable once I’ve decided to do something."