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

An unexpected discovery during a tube journey in 1988 altered the path of a teenage Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the capital's vibrant 1990s artistic milieu, progressing from model to stylist and, while still a teenager, becoming the fashion director of the iconic i-D.

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

While Enninful may seem wistful, he is not the only one. In recent times, a wistful romanticisation of the 1990s has become pervasive. Yet in the intervening decades, Enninful believes a profound shift. "I feel, we’re more divided now than we were in the 90s," he remarks. "It’s not even this country – it’s everywhere."

A Perceived Regression

This change is difficult to overlook: the resurgence of nationalist groups, the pushback against progressive values, and the return of traditional beauty standards. In place of the optimism of the previous decade, currently a different political force stands as a potential leader. Furthermore, the Union Jack, once an badge of Cool Britannia, has sparked debate once more.

For Enninful, the response has consistently been to promote culture in all its multifaceted forms. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a wide range of cultural icons from politics.

"Individuals with a platform should wield it," he says, referring to those publishing choices. "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 opportunity. That’s the Britain I believed in. I trust this phase will end."

The Younger Generation's Awareness

He finds hope in the youth of today: "Their awareness is greater than we were. They discuss implicit prejudice – I didn't even know what that was."

His formative years would forge a groundbreaking career built on boldness and diversity. Enninful made history 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 historic front pages showcasing Black models, curvy models, an octogenarian, and individuals from all walks of life. Significantly, sales increased.

"Ignoring large portions of the population, it’s more than that you’re failing to represent – it’s a poor strategy," he emphasises.

Launching a Creative Venture

He has recently launched his new venture EE72 and its flagship publication, 72, his first major project since departing his former post. He states his aim to continue being a "innovator".

"I’ve always questioned the status quo. I was raised in a place where everybody was black – the physicians, the attorneys, the leader. Then we came to England, without funds, and I found myself on the margins. I was painfully reserved. My teachers declared I’d never amount to anything. Me and my brothers were subject to police stops the Sus laws … all that gave me a dual identity between worlds."

Contrary to the popular image of industry figures as brash and highly strung, Enninful is softly spoken and radiates serenity. His path has involved challenges, including publicly shared battles with mental health and substance use.

He has also endured serious health challenges, having had multiple operations on his eyes, now leaving him with partial sight. "I experienced such a time of fear for two years, not working, fearing I was going to go blind. It’s comparable to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever ends, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to limit 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 realm that made his name. He is now curating a major 1990s exhibition at Tate Britain, showcasing work by a roster of defining 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 adequate attention at the time.

"Galleries often failed to shine a light on the right artists because they lacked the right pedigree," he comments.

This project itself uses a different strategy, forgoing traditional advertising in favour of creative collaborations. "The question is, what can we do together? Is it an experience, a podcast? The magazine is one component of a broader vision."

Looking Forward Without Fear

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

What would the Edward of the 90s react to the man he has become? He smiles. "It would be a surprise, but he’d be pleased. At that time I was a rebel. I never imagined institutions like Tate were necessarily for me."

He reflects. "Nothing is assumed. We lost our home, we left our homeland. I almost lost my vision. So there is no room for fear. People have underestimated me my whole career. But no obstacle is too great once I’ve decided to do something."