Edward Enninful on Modern Britain: 'Britain Feels Less Tolerant Now' Compared to the Nineties.

An unexpected discovery on the London Underground in 1988 transformed the path of a young Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the city's buzzing 1990s creative scene, evolving from mannequin to stylist and, by the age of 18, becoming the style editor of the publication i-D.

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

While Enninful may seem sentimental, he is far from alone. In recent times, a wistful romanticisation of the 1990s has reached fever pitch. But in the intervening decades, Enninful perceives a significant change. "I feel, we’re less tolerant now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s worldwide."

A Perceived Regression

This shift is hard to ignore: the resurgence of nationalist groups, the reaction against so-called "wokeness", and the return of narrow beauty standards. In place of the optimism of the late 90s, currently a more divisive political figure appears as a potential leader. Even, the British flag, once an badge of Cool Britannia, has become contentious again.

According to Enninful, the solution has consistently been to champion culture in all its diversity. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a wide range of influential figures from music.

"Those in a position of influence should use it," he asserts, discussing those editorial decisions. "People often debate about immigration; I would not be in this position if Britain were not a lenient country, if it hadn't given my family a refuge and an education. That’s the Britain I always loved. I trust this moment will pass."

Hope in the Next Generation

He takes comfort in the youth of today: "They’re much more aware than we were. They discuss systemic issues – I had no concept what that was."

Those early experiences would define a trailblazing career marked by boldness and diversity. Enninful set a precedent as the first male, first Black editor, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His leadership featured landmark covers showcasing models of colour, plus-sized women, an octogenarian, and individuals from all walks of life. Critically, sales grew.

"When you ignore vast segments of the population, it’s not just that you’re excluding people – it’s commercially unwise," he emphasises.

Beyond the Magazine World

He has since founded his creative company EE72 and its accompanying magazine, 72, his first major project since moving on from his former post. He expresses a desire to continue being a "disruptor".

"I constantly interrogate the status quo. I was born and raised in a place where Black professionals were the norm – the physicians, the attorneys, the president. Then we arrived in England, with nothing, and I was a minority. I was painfully reserved. My teachers said I’d never amount to anything. Me and my brothers were stopped by the police the suspicion laws … all that gave me a sense of being both an insider and outsider."

Contrary to the caricature of fashion editors as loud and temperamental, Enninful is measured in tone and exudes calm. His journey has not been immune to hardship, including openly discussed periods of depression and addiction.

He has also undergone serious health issues, having had multiple operations on his eyes, now leaving him with partial sight. "I was in such a time of fear for two years, away from work, fearing I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I prayed, if this ever passes, I’m just going to pursue all that I was so scared to do. I’m not going to confine myself to just being an editor or a figure in fashion."

A Foray into Curation

This determination to fit into a box has inspired him outside the world that established him. He is now putting together a significant 1990s exhibition at Tate Britain, showcasing work by a host of pivotal artists and photographers from the era. The show, he notes, aims to evoke the decade's artistic collaboration – and highlight those who lacked due recognition at the time.

"Galleries didn't always promote the most relevant talents because they did not have the expected background," he states.

This project itself operates on a unique approach, rejecting traditional advertising in favour of partnership-based projects. "The question is, what can we create collaboratively? Is it an experience, a podcast? The magazine is part of a larger creative platform."

A Testament to Resilience

Now, Enninful stands as one of the world's most influential industry leaders. His story, he feels, is a demonstration to the power of defying expectations.

What would the Enninful of that era make of the man he has become? He chuckles. "He would be astonished, but he’d be pleased. Back then I was sceptical of institutions. I didn't think institutions like Tate were a place for someone like me."

He pauses. "Gratitude is key. We fled, we fled our country. I nearly lost my vision. So there is no room for fear. People have underestimated me my entire life. But no obstacle is too great once I’ve made up my mind to do something."