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

An unexpected discovery on the London Underground in 1988 changed forever the trajectory of a teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the capital's vibrant 1990s artistic milieu, progressing from mannequin to stylist and, by the age of 18, becoming the fashion director of i-D magazine.

"That time was the zenith of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I felt we’d be kindred spirits. We all socialised across disciplines. Friday bled into Saturday into Sunday. I yearn for that spontaneity."

If Enninful sounds wistful, he is in good company. In recent times, a fond idealisation of the 1990s has reached fever pitch. Yet since that time, Enninful feels 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 worldwide."

Shifting Attitudes

This regression is difficult to overlook: the resurgence of populist movements, the backlash against progressive values, and the return of traditional beauty standards. In place of the optimism of the late 90s, currently a different political figure appears as a possible leader. Furthermore, the British flag, once an emblem of Cool Britannia, has sparked debate once more.

According to Enninful, the antidote has always been to champion culture in all its variety. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a wide range of cultural icons from art.

"Individuals with a platform should use it," he asserts, discussing those publishing choices. "People often debate about immigration; I could not have had this life if Britain were not a welcoming country, if it refused my family a refuge and an opportunity. That’s the Britain I believed in. I trust this phase will pass."

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 was not even aware what that was."

Those early experiences would define a pioneering career marked by fearlessness and inclusivity. Enninful made history as the first man, 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 models of colour, curvy models, older individuals, and individuals from all walks of life. Critically, sales rose.

"To overlook large portions of the population, it’s more than that you’re excluding people – it’s a poor strategy," he emphasises.

Launching a Creative Venture

He has established his new venture 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 established norms. I was brought up in a place where Black professionals were the norm – the doctors, the attorneys, the leader. Then we came to England, penniless, and I became the 'other'. I was painfully reserved. My teachers declared I’d achieve nothing. Me and my brothers were harassed under the suspicion laws … those experiences gave me a unique perspective both an insider and outsider."

Defying the popular image of industry figures as brash and highly strung, Enninful is softly spoken and radiates serenity. His path has not been immune to hardship, including publicly shared periods of mental health and substance use.

He has also endured significant health challenges, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I was in such a time of fear for two years, not working, anxious I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I prayed, if this ever is over, I’m just going to do everything that I was so afraid to do. I’m not going to restrict myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This refusal to be typecast has propelled him beyond the industry that made his name. He is now curating a significant 1990s exhibition at Tate Britain, featuring work by a host of pivotal artists and photographers from the era. The show, he explains, aims to capture the decade's artistic collaboration – and spotlight those who did not receive due recognition at the time.

"The establishment didn't always shine a light on the right artists because they lacked the expected background," he states.

This venture itself operates on a novel business model, rejecting traditional advertising in favour of creative collaborations. "The question is, what can we achieve in partnership? Is it an experience, a series? The magazine is a piece within a broader vision."

An Unstoppable Drive

Today, Enninful stands as one of the world's most powerful industry leaders. His journey, he believes, is a proof to the power of following your instincts.

How would the Edward of the 90s react to the his current self? He chuckles. "He would be astonished, but he’d be pleased. At that time I was sceptical of institutions. I would not have believed institutions like Tate were necessarily for me."

He reflects. "Nothing is assumed. We lost our home, we fled our country. I almost lost my vision. So fear is not a factor. People have doubted me my entire life. But nothing can stop me once I’ve decided to do something."