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

An unexpected discovery while riding the tube in 1988 changed forever the path of a teenage Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the London's buzzing 1990s artistic milieu, evolving from mannequin to stylist and, before turning twenty, becoming the style editor of the publication i-D.

"That era was the height of the YBA movement – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I felt we’d be great friends. We all socialised across disciplines. Friday bled into Saturday into Sunday. I miss that rawness."

If Enninful sounds sentimental, he is far from alone. In recent times, a longing look back of the 1990s has become pervasive. Yet since that time, Enninful perceives a significant change. "I feel, we’re less accepting now than we were in the 90s," he remarks. "This isn't just this country – it’s a global phenomenon."

A Cultural Backslide

This regression is increasingly evident: the resurgence of populist movements, the pushback against progressive values, and the reassertion of traditional beauty standards. In place of the optimism of the Blair era, now a more divisive political figure stands as a potential leader. Furthermore, the Union Jack, once an symbol of Cool Britannia, has become contentious again.

In Enninful's view, the response has always been to champion culture in all its variety. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a wide range of cultural icons from literature.

"People with a voice should wield it," he says, discussing those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain were not a open country, if it did not offer my family a home and an opportunity. That’s the Britain I cherished. I hope this period will pass."

The Younger Generation's Awareness

He takes comfort in the youth of today: "They’re much more aware than we were. They analyse implicit prejudice – I didn't even know what that was."

His formative years would shape a pioneering career marked by fearlessness and inclusivity. Enninful set a precedent as the first male, first Black editor, first gay man, and first disabled Black gay man to lead at British Vogue. His leadership featured landmark covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and people from all walks of life. Importantly, sales rose.

"When you ignore vast segments of the population, it’s more than that you’re failing to represent – it’s a poor strategy," he states.

Beyond the Magazine World

He has since founded his creative company EE72 and its accompanying magazine, 72, his key endeavour since departing his previous role. He states his aim to continue being a "disruptor".

"I’ve always questioned the status quo. I was raised in a place where Black professionals were the norm – the physicians, the attorneys, the leader. Then we arrived in England, without funds, and I was a minority. I was painfully reserved. My teachers said I’d have no future. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a dual identity between worlds."

In contrast to the caricature of fashion editors as loud and temperamental, Enninful is calm and radiates serenity. His path has involved adversity, including well-documented battles with mental health and substance use.

He has also endured serious health issues, having had multiple operations on his eyes, now leaving him with impaired eyesight. "I endured such a difficult period for two years, not working, terrified I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I vowed, if this ever ends, I’m just going to do everything that I was so afraid to do. I’m not going to confine myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This determination to fit into a box has led him away from the industry that established him. He is now putting together a seminal 1990s exhibition at Tate Britain, showcasing work by a roster of influential artists and photographers from the era. The show, he says, aims to explore the decade's artistic collaboration – and highlight those who did not receive due recognition at the time.

"Institutions didn't always celebrate the most relevant talents because they did not have the traditional credentials," he observes.

The magazine 72 itself uses a novel approach, rejecting traditional advertising in favour of integrated partnerships. "Our approach is, what can we achieve in partnership? Is it an event, a series? The magazine is a piece within a broader vision."

A Testament to Resilience

Currently, Enninful is regarded as one of the world's most powerful cultural influencers. His path, he feels, is a demonstration to the power of pursuing your passions.

What would the Enninful of that era react to the his current self? He chuckles. "He’d be in shock, but he’d be proud. Back then I was a rebel. I never imagined institutions like Tate were necessarily for me."

He reflects. "Gratitude is key. We fled, we left our homeland. I came close to losing my vision. So there is no room for fear. People have counted me out my whole career. But no obstacle is too great once I’ve decided to do something."