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

A chance encounter while riding the tube in 1988 transformed the trajectory of a young Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the London's electric 1990s artistic milieu, moving from mannequin to stylist and, before turning twenty, becoming the fashion director of i-D magazine.

"That time was the height of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I understood we’d be kindred spirits. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I yearn for that energy."

Although Enninful appears wistful, he is in good company. Lately, a longing look back of the 1990s has reached fever pitch. However in the intervening decades, Enninful believes a profound shift. "I feel, we’re less accepting now than we were in the 90s," he says. "It’s not even this country – it’s everywhere."

A Perceived Regression

This shift is hard to ignore: the rise of far-right politics, the backlash against social awareness, and the return of Eurocentric beauty standards. In place of the optimism of the late 90s, now a more divisive political force appears as a possible leader. Even, the British flag, once an emblem of cultural optimism, has become contentious again.

For Enninful, the antidote has always been to celebrate culture in all its multifaceted forms. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a diverse array of influential figures from art.

"Those in a position of influence should employ it," he says, discussing those editorial decisions. "People often debate about immigration; I wouldn't be here if Britain hadn't been a welcoming country, if it hadn't given my family a home and an opportunity. That’s the Britain I cherished. I believe this period will end."

The Younger Generation's Awareness

He takes comfort in the next generation: "They are far more conscious than we were. They analyse systemic issues – I was not even aware what that was."

His formative years would shape a trailblazing career characterised by boldness and inclusivity. Enninful set a precedent as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His time featured historic front pages showcasing people of diverse backgrounds, curvy models, an octogenarian, and individuals from all walks of life. Importantly, sales grew.

"To overlook huge sections of the population, it’s not just that you’re failing to represent – it’s commercially unwise," he states.

Launching a Creative Venture

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

"I’ve always questioned the status quo. I was brought up in a place where the majority was Black – the physicians, the lawyers, the leader. Then we came to England, without funds, and I was a minority. I was very shy. My teachers declared I’d have no future. Me and my brothers were subject to police stops the suspicion laws … this duality gave me a sense of being between worlds."

In contrast to the popular image of industry figures as brash and temperamental, Enninful is calm and projects peace. His path has included its share of challenges, including well-documented periods of depression and substance use.

He has also undergone serious health challenges, having had multiple operations on his eyes, resulting in impaired eyesight. "I endured such a dark place for two years, away from work, anxious I was going to lose my sight. 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 pursue all that I was so afraid to do. I’m not going to limit myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This refusal to be typecast has led him beyond the world that built his career. He is now organising a seminal 1990s exhibition at Tate Britain, featuring work by a group of influential 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 due recognition at the time.

"Institutions sometimes neglected to promote the most relevant talents because they did not have the right pedigree," he observes.

The magazine 72 itself functions with a unique approach, eschewing traditional advertising in favour of partnership-based projects. "The question is, what can we do together? Is it an experience, a podcast? The magazine is a piece within a broader vision."

An Unstoppable Drive

Today, Enninful stands as one of the world's most respected cultural influencers. His story, he feels, is a testament to the power of pursuing your passions.

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

He adds. "Nothing is assumed. We lost our home, we fled our country. I nearly lost my vision. So there is no room for fear. People have doubted me my entire life. But I am unstoppable once I’ve made up my mind to do something."