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

An unexpected discovery while riding the tube in 1988 changed forever the path of a teenage Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the capital's electric 1990s creative scene, evolving from model to stylist and, before turning twenty, becoming the style editor of i-D magazine.

"That time was the peak of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I understood we’d be great friends. We all hung out across disciplines. Friday bled into Saturday into Sunday. I miss that energy."

If Enninful sounds sentimental, he is far from alone. In recent times, a longing look back of the 1990s has become pervasive. However since that time, Enninful perceives a profound shift. "In my view, we’re more divided now than we were in the 90s," he says. "This isn't just this country – it’s worldwide."

Shifting Attitudes

This shift is difficult to overlook: the growth of nationalist groups, the pushback against progressive values, and the return of Eurocentric beauty standards. In place of the optimism of the Blair era, currently a more divisive political force stands as a potential leader. Even, the Union Jack, once an symbol of Cool Britannia, has sparked debate once more.

In Enninful's view, the solution has consistently been to celebrate culture in all its diversity. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a diverse array of cultural icons from art.

"People with a voice should use it," he asserts, explaining those publishing choices. "People often debate about immigration; I wouldn't be here if Britain hadn't been a open country, if it refused my family a home and an education. That’s the Britain I believed in. I trust this phase will pass."

The Younger Generation's Awareness

He draws solace in the youth of today: "Their awareness is greater than we were. They talk about unconscious bias – I didn't even know what that was."

The beginnings of his career would forge a pioneering career marked by fearlessness and inclusivity. Enninful made history as the first male, first Black editor, first gay man, and first disabled gay man of colour to lead at British Vogue. His tenure featured historic front pages showcasing Black models, curvy models, older individuals, and individuals from varied communities. Importantly, sales increased.

"When you ignore vast segments of the population, it’s more than that you’re excluding people – it’s commercially unwise," he emphasises.

Beyond the Magazine World

He has established his new venture EE72 and its accompanying magazine, 72, his first major project since departing his previous role. He expresses a desire to continue being a "innovator".

"I’ve always questioned the established norms. I was raised in a place where the majority was Black – the physicians, the attorneys, the leader. Then we arrived in England, penniless, and I found myself on the margins. I was very shy. My teachers predicted I’d never amount to anything. Me and my brothers were stopped by the police the Sus laws … those experiences gave me a dual identity on the inside and the outside."

Contrary to the popular image of industry figures as loud and highly strung, Enninful is calm and exudes calm. His life has included its share of hardship, including publicly shared periods of mental health and addiction.

He has also undergone serious health issues, having had multiple operations on his eyes, now leaving him with limited vision. "I experienced such a difficult period for two years, away from work, anxious I was going to lose my sight. It’s like 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 fearful to do. I’m not going to confine myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This refusal to be typecast has led him beyond the industry that made his name. He is now curating a major 1990s exhibition at Tate Britain, bringing together work by a host of influential artists and photographers from the era. The show, he notes, aims to explore the decade's interdisciplinary energy – and spotlight those who lacked due recognition at the time.

"Galleries sometimes neglected to promote the truly innovative creators because they did not have the right pedigree," he observes.

This venture itself functions with a novel business model, rejecting traditional advertising in favour of integrated partnerships. "Our approach is, what can we create collaboratively? Is it an experience, a series? The magazine is one component of a larger creative platform."

An Unstoppable Drive

Today, Enninful stands as one of the world's most powerful creative power brokers. His story, he believes, is a testament to the power of defying expectations.

What would the Enninful of that era react to the Edward of today? He laughs heartily. "He would be astonished, but he’d be impressed. At that time I was anti-establishment. I never imagined institutions like Tate were necessarily for me."

He pauses. "Gratitude is key. We were displaced, we left our homeland. I almost lost my vision. So fear is not a factor. People have counted me out my whole career. But no obstacle is too great once I’ve set my intention to do something."