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

An unexpected discovery during a tube journey in 1988 altered the course of a teenage Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the capital's vibrant 1990s artistic milieu, progressing from model to stylist and, before turning twenty, becoming the style editor of the iconic i-D.

"It was the zenith of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I knew we’d be kindred spirits. We all hung out across disciplines. Friday bled into Saturday into Sunday. I yearn for that rawness."

If Enninful sounds sentimental, he is in good company. Recently, a longing look back of the 1990s has grown intense. Yet in the intervening decades, Enninful believes a noticeable regression. "I feel, we’re less tolerant now than we were in the 90s," he says. "The issue extends beyond this country – it’s everywhere."

A Perceived Regression

This regression is increasingly evident: the resurgence of far-right politics, the pushback against progressive values, and the reinforcement of traditional beauty standards. Replacing the optimism of the Blair era, now a different political personality looms as a potential leader. Even, the Union Jack, once an symbol of Cool Britannia, has returned as a polarising symbol.

According to Enninful, the antidote has consistently been to celebrate culture in all its variety. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a diverse array of prominent faces from literature.

"Individuals with a platform should employ it," he comments, referring to those publishing choices. "Everyone talks about immigration; I could not have had this life if Britain was not a welcoming country, if it refused my family a home and an opportunity. That’s the Britain I always loved. I trust this moment will pass."

The Younger Generation's Awareness

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

His formative years would shape a groundbreaking career built on boldness and inclusivity. Enninful broke barriers as the first man, first Black editor, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His time featured landmark covers showcasing models of colour, curvy models, older individuals, and people from all walks of life. Critically, sales grew.

"When you ignore 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 established his new venture EE72 and its flagship publication, 72, his first major project since leaving his former post. He expresses a desire to continue being a "disruptor".

"My nature is to challenge the conventional wisdom. I was raised in a place where the majority was Black – the physicians, the lawyers, the leader. Then we arrived in England, without funds, and I was a minority. I was incredibly timid. My teachers predicted I’d have no future. Me and my brothers were subject to police stops the Sus laws … those experiences gave me a unique perspective on the inside and the outside."

In contrast to the popular image of industry figures as brash and temperamental, Enninful is calm and radiates serenity. His life has involved adversity, including well-documented periods of mental health and substance use.

He has also undergone 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, fearing I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I vowed, if this ever ends, I’m just going to pursue all 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 drive to be typecast has propelled him away from the world that made his name. He is now putting together a seminal 1990s exhibition at Tate Britain, showcasing work by a host of pivotal artists and photographers from the era. The show, he notes, aims to explore the decade's creative cross-pollination – and give platform to those who weren't given due recognition at the time.

"Galleries didn't always promote the right artists because they did not have the expected background," he observes.

This venture itself uses a novel approach, eschewing traditional advertising in favour of creative collaborations. "We ask, what can we create collaboratively? Is it an experience, a series? The magazine is part of a larger creative platform."

A Testament to Resilience

Now, Enninful operates as one of the world's most respected creative power brokers. His journey, he believes, is a proof to the power of following your instincts.

What would the younger Edward think of the his current self? He smiles. "He would be astonished, but he’d be impressed. Back then I was anti-establishment. I didn't think institutions like Tate were within my reach."

He reflects. "Gratitude is key. We were displaced, we left our homeland. I almost lost my vision. So there is no room for fear. People have doubted me my entire life. But nothing can stop me once I’ve decided to do something."