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

An unexpected discovery on the London Underground in 1988 changed forever the course of a young Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the city's buzzing 1990s artistic milieu, progressing from model to stylist and, before turning twenty, becoming the fashion director of the publication i-D.

"That era was the zenith of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I understood we’d be close. We all socialised across disciplines. Friday became Saturday into Sunday. I yearn for that energy."

If Enninful sounds nostalgic, he is not the only one. Lately, a longing look back of the 1990s has become pervasive. However since that time, Enninful feels a significant change. "I feel, we’re less tolerant now than we were in the 90s," he observes. "The issue extends beyond this country – it’s a global phenomenon."

A Cultural Backslide

This shift is increasingly evident: the growth of populist movements, the reaction against so-called "wokeness", and the reassertion of narrow beauty standards. Where once there was the optimism of the Blair era, now a different political force appears as a possible leader. Even, the Union Jack, once an badge of cultural optimism, has become contentious again.

In Enninful's view, the response has long 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 snapshot of modern Britain, featuring a diverse array of prominent faces from art.

"Those in a position of influence should employ it," he says, referring to those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain were not a open country, if it refused my family a refuge and an opportunity. That’s the Britain I always loved. I believe this moment will end."

A New Wave of Consciousness

He finds hope in the next generation: "They are far more conscious than we were. They analyse implicit prejudice – I had no concept what that was."

His formative years would forge a groundbreaking career built on boldness and representation. Enninful made history as the first male, first Black editor, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His tenure featured landmark covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and people from all walks of life. Importantly, sales increased.

"Ignoring large portions of the population, it’s more than that you’re excluding people – it’s commercially unwise," he explains.

A New Chapter as a 'Disruptor'

He has since founded his new venture EE72 and its flagship publication, 72, his premier initiative since moving on from his previous role. He says he wants to continue being a "disruptor".

"I constantly interrogate the status quo. I was born and raised in a place where Black professionals were the norm – the doctors, the attorneys, the leader. Then we came to England, without funds, and I became the 'other'. I was very shy. My teachers predicted I’d achieve nothing. Me and my brothers were harassed under the Sus laws … this duality gave me a sense of being both an insider and outsider."

Defying the stereotype of industry figures as loud and temperamental, Enninful is calm and projects peace. His journey has included its share of hardship, including well-documented battles with mental health and substance use.

He has also faced serious health challenges, having undergone several surgeries on his eyes, leading to impaired eyesight. "I was in such a time of fear for two years, away from work, fearing I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I thought, if this ever is over, 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."

A Foray into Curation

This refusal to be typecast has inspired him outside the industry that built his career. He is now putting together a seminal 1990s exhibition at Tate Britain, bringing together work by a roster of defining artists and photographers from the era. The show, he explains, aims to capture the decade's creative cross-pollination – and highlight those who did not receive a spotlight at the time.

"Institutions often failed to celebrate the right artists because they did not have the right pedigree," he comments.

The magazine 72 itself uses a different business model, eschewing traditional advertising in favour of creative collaborations. "We ask, what can we do together? Is it an experience, a podcast? 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 industry leaders. His path, he believes, is a proof to the power of following your instincts.

What would the Edward of the 90s think of the man he has become? He chuckles. "He’d be in shock, but he’d be impressed. At that time I was sceptical of institutions. I would not have believed institutions like Tate were necessarily for me."

He pauses. "Gratitude is key. We were displaced, we fled our country. I almost lost my vision. So there is no room for fear. People have underestimated me my whole career. But I am unstoppable once I’ve made up my mind to do something."