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

An unexpected discovery during a tube journey in 1988 changed forever the course of a teenage Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the capital's vibrant 1990s creative scene, evolving from mannequin to stylist and, before turning twenty, becoming the fashion director of i-D magazine.

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

Although Enninful appears wistful, 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 says. "It’s not even this country – it’s worldwide."

A Perceived Regression

This change is hard to ignore: the growth of far-right politics, the pushback against progressive values, and the reinforcement of traditional beauty standards. Replacing the hope of the late 90s, currently a more divisive political personality looms as a potential leader. Furthermore, the British flag, once an symbol of Cool Britannia, has become contentious again.

In Enninful's view, the antidote has consistently been to celebrate culture in all its diversity. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a diverse array of influential figures from music.

"Those in a position of influence should wield it," he says, explaining those publishing choices. "There is much discussion about immigration; I could not have had this life if Britain was not a open country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I cherished. I believe this moment will pass."

Hope in the Next Generation

He finds hope in the next generation: "They’re much more aware than we were. They discuss implicit prejudice – I didn't even know what that was."

Those early experiences would forge a pioneering career built on boldness and representation. Enninful broke barriers as the first male, first Black editor, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His tenure featured landmark covers showcasing people of diverse backgrounds, curvy models, an octogenarian, and people from varied communities. Significantly, sales grew.

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

Beyond the Magazine World

He has since founded his new venture EE72 and its accompanying magazine, 72, his premier initiative since leaving his previous role. He expresses a desire to continue being a "innovator".

"I constantly interrogate the established norms. I was brought up in a place where the majority was Black – the physicians, the attorneys, the leader. Then we arrived in England, with nothing, and I was a minority. I was incredibly timid. My teachers said I’d have no future. Me and my brothers were subject to police stops the suspicion laws … all that gave me a dual identity both an insider and outsider."

Defying the caricature of industry figures as loud and highly strung, Enninful is calm and radiates serenity. His path has not been immune to challenges, including well-documented battles with mental health and addiction.

He has also undergone serious health issues, having undergone several surgeries on his eyes, leading to limited vision. "I experienced such a dark place for two years, away from work, fearing 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 embrace every opportunity that I was so afraid to do. I’m not going to confine myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This refusal to be typecast has inspired him beyond the world that made his name. He is now organising a major 1990s exhibition at Tate Britain, showcasing 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 spotlight those who weren't given adequate attention at the time.

"The establishment sometimes neglected to celebrate the right artists because they lacked the expected background," he states.

The magazine 72 itself uses a different business model, forgoing traditional advertising in favour of creative collaborations. "The question is, what can we create collaboratively? Is it an event, a podcast? The magazine is one component of a larger creative platform."

An Unstoppable Drive

Currently, Enninful operates as one of the world's most powerful industry leaders. His path, he states, is a proof to the power of following your instincts.

What would the Edward of the 90s react to the Edward of today? He chuckles. "He’d be in shock, but he’d be pleased. Back then I was anti-establishment. I didn't think institutions like Tate were a place for someone like me."

He adds. "Gratitude is key. We lost our home, we left our homeland. I almost lost my vision. So fear isn't an option. People have underestimated me my entire life. But no obstacle is too great once I’ve made up my mind to do something."