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

An unexpected discovery on the London Underground in 1988 altered the course of a young Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the capital's electric 1990s creative scene, evolving from mannequin to stylist and, by the age of 18, becoming the fashion director of the iconic i-D.

"That era was the height 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 felt we’d be great friends. We all hung out across disciplines. Friday bled into Saturday into Sunday. I long for that energy."

If Enninful sounds wistful, he is in good company. In recent times, a wistful romanticisation of the 1990s has reached fever pitch. Yet since that time, Enninful believes a noticeable regression. "In my view, we’re more divided now than we were in the 90s," he says. "The issue extends beyond this country – it’s worldwide."

Shifting Attitudes

This shift is difficult to overlook: the growth of nationalist groups, the pushback against social awareness, and the reassertion of Eurocentric beauty standards. Where once there was the hope of the previous decade, now a more divisive political figure stands as a possible leader. Furthermore, the British flag, once an emblem of cultural optimism, has become contentious again.

According to Enninful, the antidote has consistently been to celebrate culture in all its multifaceted forms. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a diverse array of prominent faces from politics.

"Those in a position of influence should employ it," he comments, discussing those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain was not a open country, if it refused my family a refuge and an opportunity. That’s the Britain I believed in. I believe this moment will end."

Hope in the Next Generation

He draws solace in the younger generation: "They are far more conscious than we were. They talk about implicit prejudice – I didn't even know what that was."

Those early experiences would forge a groundbreaking career marked by fearlessness and representation. Enninful broke barriers as the first male, first Black editor, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His tenure featured historic front pages showcasing models of colour, curvy models, an octogenarian, and individuals from all walks of life. Importantly, sales rose.

"To overlook huge sections of the population, it’s more than that you’re excluding people – it’s commercially unwise," he explains.

Launching a Creative Venture

He has recently launched his creative company EE72 and its flagship publication, 72, his first major project since moving on from his former post. He says he wants to continue being a "change-maker".

"I’ve always questioned the conventional wisdom. I was raised in a place where everybody was black – the doctors, the lawyers, the president. Then we came to England, with nothing, and I found myself on the margins. I was painfully reserved. My teachers predicted I’d never amount to anything. Me and my brothers were harassed under the suspicion laws … those experiences gave me a unique perspective between worlds."

Defying the stereotype of industry figures as brash and highly strung, Enninful is softly spoken and exudes calm. His life has included its share of challenges, including well-documented struggles with depression and substance use.

He has also faced serious health challenges, having undergone several surgeries on his eyes, resulting in partial sight. "I was in such a time of fear for two years, away from work, anxious I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I thought, if this ever is over, I’m just going to do everything that I was so afraid to do. I’m not going to limit myself to just being an editor or a fashion person."

Curating a Cultural Era

This refusal to be typecast has propelled him beyond the realm that established him. He is now organising a major 1990s exhibition at Tate Britain, featuring work by a host of defining artists and photographers from the era. The show, he says, aims to capture the decade's creative cross-pollination – and give platform to those who did not receive a spotlight at the time.

"Institutions didn't always promote the right artists because they weren't of the expected background," he states.

This venture itself uses a unique approach, eschewing traditional advertising in favour of creative collaborations. "The question is, what can we achieve in partnership? Is it an event, a podcast? The magazine is one component of a greater ecosystem."

Looking Forward Without Fear

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

How would the Edward of the 90s think of the his current self? He laughs heartily. "He would be astonished, but he’d be proud. At that time I was anti-establishment. I didn't think institutions like Tate were within my reach."

He adds. "Nothing is assumed. We fled, we fled our country. I almost lost my vision. So fear is not a factor. People have doubted me my entire life. But no obstacle is too great once I’ve made up my mind to do something."