Edward Enninful on Modern Britain: 'A Decline in Tolerance' Than We Were Decades Ago.

A chance encounter while riding the tube in 1988 changed forever the course of a young Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the capital's buzzing 1990s artistic milieu, progressing from model to stylist and, while still a teenager, becoming the style editor of i-D magazine.

"That era was the zenith of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I knew we’d be close. We all hung out across disciplines. Friday became Saturday into Sunday. I miss that rawness."

While Enninful may seem nostalgic, he is not the only one. Lately, a fond idealisation of the 1990s has reached fever pitch. Yet in the intervening decades, Enninful believes a significant change. "In my view, we’re less accepting now than we were in the 90s," he observes. "It’s not even this country – it’s everywhere."

A Cultural Backslide

This shift is hard to ignore: the resurgence of nationalist groups, the backlash against so-called "wokeness", and the return of narrow beauty standards. Where once there was the hope of the Blair era, currently a different political force appears as a possible leader. Even, the Union Jack, once an badge of Cool Britannia, has returned as a polarising symbol.

According to Enninful, the antidote has consistently been to celebrate 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 broad spectrum of prominent faces from politics.

"Individuals with a platform should wield it," he comments, referring to those editorial decisions. "Everyone talks about immigration; I could not have had this life if Britain were not a lenient country, if it refused my family a refuge and an opportunity. That’s the Britain I cherished. I hope this period will end."

Hope in the Next Generation

He takes comfort in the next generation: "They’re much more aware than we were. They discuss implicit prejudice – I had no concept what that was."

The beginnings of his career would forge a trailblazing career characterised by boldness and representation. Enninful made history as the first male, first black man, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His tenure featured historic front pages showcasing models of colour, plus-sized women, an octogenarian, and people from all walks of life. Significantly, sales grew.

"Ignoring large portions of the population, it’s not just that you’re excluding people – it’s bad for business," he explains.

Launching a Creative Venture

He has established his new venture EE72 and its flagship publication, 72, his premier initiative since departing his previous role. He expresses a desire to continue being a "disruptor".

"I constantly interrogate the status quo. I was born and raised in a place where everybody was black – the doctors, the attorneys, the president. Then we came to England, penniless, and I was a minority. I was very shy. My teachers declared I’d never amount to anything. Me and my brothers were stopped by the police the Sus laws … those experiences gave me a unique perspective both an insider and outsider."

Contrary to the popular image of fashion editors as brash and highly strung, Enninful is measured in tone and radiates serenity. His journey has included its share of hardship, including well-documented battles with mental health and substance use.

He has also endured significant health challenges, having had multiple operations on his eyes, now leaving him with impaired eyesight. "I endured such a difficult period for two years, not working, anxious I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 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 limit myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This determination to be defined narrowly has inspired him beyond the realm that built his career. He is now putting together a significant 1990s exhibition at Tate Britain, bringing together work by a group of influential artists and photographers from the era. The show, he notes, aims to explore the decade's artistic collaboration – and give platform to those who did not receive a spotlight at the time.

"The establishment often failed to shine a light on the truly innovative creators because they weren't of the right pedigree," he states.

The magazine 72 itself functions with a unique strategy, eschewing traditional advertising in favour of integrated partnerships. "We ask, what can we create collaboratively? Is it an experience, a podcast? The magazine is part of a larger creative platform."

Looking Forward Without Fear

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

What would the Edward of the 90s make of the his current self? He laughs heartily. "He would be astonished, but he’d be pleased. At that time I was a rebel. I didn't think institutions like Tate were within my reach."

He adds. "Gratitude is key. We were displaced, we left our homeland. I nearly lost my vision. So fear is not a factor. People have underestimated me my entire life. But no obstacle is too great once I’ve made up my mind to do something."