Edward Enninful discusses Modern Britain: 'We Are Less Tolerant Now' Compared to the Nineties.

A chance encounter on the London Underground in 1988 transformed the course of a teenage Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the city's electric 1990s creative scene, moving from mannequin to stylist and, while still a teenager, becoming the style editor of the publication i-D.

"It was the height of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I understood we’d be great friends. We all mixed across disciplines. Friday bled into Saturday into Sunday. I yearn for that energy."

Although Enninful appears nostalgic, he is far from alone. Recently, a fond idealisation of the 1990s has grown intense. Yet over the last thirty years, Enninful feels a noticeable regression. "In my view, we’re less accepting now than we were in the 90s," he observes. "The issue extends beyond this country – it’s everywhere."

A Cultural Backslide

This regression is difficult to overlook: the growth of populist movements, the reaction against social awareness, and the reassertion of narrow beauty standards. In place of the optimism of the previous decade, now a more divisive political figure stands as a possible leader. Furthermore, the British flag, once an symbol of Cool Britannia, has sparked debate once more.

According to Enninful, the antidote has long been to promote culture in all its diversity. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a wide range of prominent faces from music.

"Those in a position of influence should wield it," he says, discussing those publishing choices. "There is much discussion about immigration; I would not be in this position if Britain were not a open country, if it hadn't given my family a home and an education. That’s the Britain I always loved. 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 talk about 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 gay man, and first disabled Black gay man to take the helm at British Vogue. His leadership featured diverse covers showcasing Black models, curvy models, older individuals, and individuals from all walks of life. Importantly, sales increased.

"To overlook large portions of the population, it’s more than that you’re excluding people – it’s bad for business," he explains.

Launching a Creative Venture

He has since founded his new venture EE72 and its flagship publication, 72, his key endeavour since moving on from his former post. He states his aim to continue being a "disruptor".

"I’ve always questioned the established norms. I was brought up in a place where the majority was Black – the doctors, the attorneys, the leader. Then we arrived in England, without funds, and I found myself on the margins. I was painfully reserved. My teachers predicted I’d have no future. Me and my brothers were harassed under the Sus laws … all that gave me a unique perspective on the inside and the outside."

Defying the caricature of fashion editors as loud and highly strung, Enninful is softly spoken and radiates serenity. His journey has included its share of adversity, including openly discussed struggles with mental health and addiction.

He has also endured serious health issues, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I was in such a difficult period for two years, not working, anxious I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I thought, if this ever ends, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to confine myself to just being an editor or a fashion person."

A Foray into Curation

This determination to fit into a box has propelled him beyond the world that established him. He is now curating a major 1990s exhibition at Tate Britain, featuring work by a host of pivotal artists and photographers from the era. The show, he notes, aims to evoke the decade's creative cross-pollination – and highlight those who weren't given a spotlight at the time.

"Galleries often failed to promote the truly innovative creators because they weren't of the traditional credentials," he states.

The magazine 72 itself uses a different approach, eschewing traditional advertising in favour of integrated partnerships. "The question is, what can we achieve in partnership? Is it an event, a podcast? The magazine is a piece within a larger creative platform."

An Unstoppable Drive

Now, Enninful operates as one of the world's most powerful creative power brokers. His path, he states, is a demonstration to the power of following your instincts.

What would the Enninful of that era react to the Edward of today? He laughs heartily. "It would be a surprise, but he’d be impressed. In those days I was anti-establishment. I didn't think institutions like Tate were a place for someone like me."

He pauses. "Nothing is assumed. We lost our home, we fled our country. I nearly lost my vision. So there is no room for fear. People have underestimated me my whole career. But nothing can stop me once I’ve made up my mind to do something."