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

A chance encounter while riding the tube in 1988 altered the path of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the capital's vibrant 1990s creative scene, progressing from model to stylist and, by the age of 18, becoming the style editor of the publication i-D.

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

While Enninful may seem nostalgic, he is far from alone. Recently, a wistful romanticisation of the 1990s has reached fever pitch. Yet since that time, Enninful perceives a significant change. "I feel, we’re less accepting now than we were in the 90s," he observes. "The issue extends beyond this country – it’s worldwide."

A Perceived Regression

This shift is hard to ignore: the growth of populist movements, the backlash against social awareness, and the reinforcement of traditional beauty standards. In place of the optimism of the Blair era, today a different political personality looms as a possible leader. Even, the British flag, once an symbol of cultural optimism, has returned as a polarising symbol.

For Enninful, the response has long been to promote culture in all its variety. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a diverse array of cultural icons from literature.

"People with a voice should employ it," he says, discussing those editorial decisions. "People often debate about immigration; I could not have had this life if Britain hadn't been a welcoming country, if it did not offer my family a refuge and an education. That’s the Britain I always loved. I believe this period will fade."

A New Wave of Consciousness

He finds hope in the younger generation: "Their awareness is greater than we were. They discuss implicit prejudice – I didn't even know what that was."

The beginnings of his career would shape a trailblazing career built on boldness and inclusivity. Enninful set a precedent as the first man, first black man, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His leadership featured diverse covers showcasing models of colour, curvy models, an octogenarian, and people from all walks of life. Critically, sales rose.

"When you ignore large portions of the population, it’s not just that you’re failing to represent – it’s commercially unwise," he explains.

Beyond the Magazine World

He has established his agency EE72 and its flagship publication, 72, his key endeavour since departing his previous role. He states his aim to continue being a "innovator".

"I’ve always questioned the established norms. I was raised in a place where everybody was black – the doctors, the lawyers, the leader. Then we arrived in England, penniless, and I became the 'other'. I was incredibly timid. My teachers predicted I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … those experiences gave me a unique perspective between worlds."

In contrast to the caricature of industry figures as brash and temperamental, Enninful is softly spoken and exudes calm. His life has included its share of challenges, including publicly shared battles with depression and substance use.

He has also endured significant health issues, having undergone several surgeries on his eyes, resulting in limited vision. "I was in such a difficult period for two years, away from work, terrified I was going to lose my sight. 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 pursue all that I was so afraid to do. I’m not going to limit myself to just being an editor or a figure in fashion."

A Foray into Curation

This determination to fit into a box has propelled him outside the world that established him. He is now putting together a major 1990s exhibition at Tate Britain, showcasing work by a roster of defining artists and photographers from the era. The show, he notes, aims to evoke the decade's interdisciplinary energy – and spotlight those who did not receive a spotlight at the time.

"Institutions sometimes neglected to celebrate the most relevant talents because they lacked the traditional credentials," he states.

The magazine 72 itself operates on a novel approach, eschewing traditional advertising in favour of partnership-based projects. "We ask, what can we create collaboratively? Is it an experience, a series? The magazine is a piece within a broader vision."

A Testament to Resilience

Today, Enninful is regarded as one of the world's most powerful creative power brokers. His journey, he states, is a demonstration to the power of following your instincts.

What would the Enninful of that era make of the his current self? He smiles. "He’d be in shock, but he’d be pleased. In those days I was anti-establishment. I never imagined institutions like Tate were a place for someone like me."

He adds. "I never take anything for granted. We were displaced, we left our homeland. I came close to losing my vision. So fear is not a factor. People have underestimated me my entire life. But I am unstoppable once I’ve made up my mind to do something."