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

An unexpected discovery during a tube journey in 1988 transformed the path of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the city's vibrant 1990s cultural landscape, progressing from model to stylist and, before turning twenty, becoming the fashion director of the publication i-D.

"It was the zenith of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I understood we’d be great friends. We all hung out across disciplines. Friday became Saturday into Sunday. I yearn for that spontaneity."

If Enninful sounds sentimental, he is not the only one. In recent times, a longing look back of the 1990s has grown intense. Yet over the last thirty years, Enninful believes a noticeable regression. "I feel, we’re more divided now than we were in the 90s," he remarks. "This isn't just this country – it’s worldwide."

Shifting Attitudes

This regression is hard to ignore: the growth of far-right politics, the reaction against progressive values, and the return of narrow beauty standards. Where once there was the hope of the Blair era, today a more divisive political force looms as a possible leader. Even, the Union Jack, once an emblem of national pride, has sparked debate once more.

According to Enninful, the antidote has consistently been to celebrate culture in all its multifaceted forms. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a diverse array of influential figures from literature.

"Individuals with a platform should wield it," he says, discussing those editorial decisions. "Everyone talks about immigration; I could not have had this life if Britain were not a open country, if it refused my family a home and an education. That’s the Britain I always loved. I hope this moment will pass."

The Younger Generation's Awareness

He takes comfort in the next generation: "Their awareness is greater than we were. They analyse unconscious bias – I didn't even know what that was."

The beginnings of his career would define a pioneering career built on boldness and inclusivity. Enninful set a precedent as the first man, first black man, first gay man, and first disabled gay man of colour to lead at British Vogue. His time featured diverse covers showcasing models of colour, plus-sized women, an octogenarian, and individuals from varied communities. Importantly, sales increased.

"When you ignore huge sections of the population, it’s not just that you’re failing to represent – it’s a poor strategy," he states.

Beyond the Magazine World

He has since founded his agency EE72 and its accompanying magazine, 72, his premier initiative since departing his previous role. He expresses a desire to continue being a "change-maker".

"I constantly interrogate the status quo. I was raised in a place where the majority was Black – the physicians, the attorneys, the president. Then we arrived in England, without funds, and I was a minority. I was painfully reserved. My teachers predicted I’d achieve nothing. Me and my brothers were subject to police stops the Sus laws … those experiences gave me a dual identity both an insider and outsider."

Contrary to the caricature of fashion editors as loud and temperamental, Enninful is softly spoken and projects peace. His life has involved adversity, including openly discussed battles with depression and substance use.

He has also endured serious health challenges, having undergone several surgeries on his eyes, resulting in limited vision. "I experienced such a time of fear for two years, away from work, terrified I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever passes, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to limit myself to just being an editor or a figure in fashion."

A Foray into Curation

This drive to be typecast has led him outside the realm that made his name. He is now curating a significant 1990s exhibition at Tate Britain, bringing together work by a group of defining artists and photographers from the era. The show, he says, aims to explore the decade's creative cross-pollination – and highlight those who did not receive a spotlight at the time.

"The establishment often failed to celebrate the most relevant talents because they lacked the traditional credentials," he states.

This venture itself functions with a different approach, rejecting traditional advertising in favour of partnership-based projects. "We ask, what can we do together? Is it an experience, a podcast? The magazine is a piece within a greater ecosystem."

A Testament to Resilience

Currently, Enninful is regarded as one of the world's most influential industry leaders. His path, he feels, is a proof to the power of defying expectations.

What would the Enninful of that era react to the Edward of today? He smiles. "He’d be in shock, but he’d be pleased. Back then I was a rebel. I would not have believed institutions like Tate were within my reach."

He reflects. "Gratitude is key. We fled, we left our homeland. I nearly lost my vision. So fear isn't an option. People have underestimated me my whole career. But no obstacle is too great once I’ve decided to do something."