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

An unexpected discovery on the London Underground in 1988 changed forever the course of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was quickly drawn into the capital's vibrant 1990s artistic milieu, moving from model to stylist and, while still a teenager, becoming the style editor of the iconic i-D.

"It was the peak of the Young British Artists – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I felt we’d be kindred spirits. We all hung out across disciplines. Friday became Saturday into Sunday. I long for that rawness."

If Enninful sounds wistful, he is not the only one. Recently, a fond idealisation of the 1990s has grown intense. But in the intervening decades, Enninful believes a significant change. "I believe, we’re more divided now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s worldwide."

A Cultural Backslide

This regression is increasingly evident: the resurgence of nationalist groups, the reaction against social awareness, and the reassertion of narrow beauty standards. Where once there was the hope of the late 90s, now a different political personality appears as a possible leader. Even, the British flag, once an badge of cultural optimism, has become contentious again.

For Enninful, the solution has long been to promote culture in all its diversity. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a diverse array of prominent faces from politics.

"Individuals with a platform should use it," he comments, discussing those editorial decisions. "People often debate about immigration; I could not have had this life if Britain hadn't been a open country, if it did not offer my family a refuge and an opportunity. That’s the Britain I believed in. I hope this moment will end."

The Younger Generation's Awareness

He takes comfort in the younger generation: "Their awareness is greater than we were. They talk about unconscious bias – I was not even aware what that was."

His formative years would define a pioneering career built on boldness and representation. Enninful made history as the first male, first Black editor, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His time featured diverse covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and people from all walks of life. Critically, sales rose.

"When you ignore huge sections of the population, it’s not just that you’re not being inclusive – it’s bad for business," he explains.

A New Chapter as a 'Disruptor'

He has since founded his creative company EE72 and its accompanying magazine, 72, his premier initiative since leaving his former post. He states his aim to continue being a "innovator".

"I’ve always questioned the conventional wisdom. I was born and raised in a place where the majority was Black – the physicians, the attorneys, the leader. Then we arrived in England, without funds, and I was a minority. I was painfully reserved. My teachers said I’d achieve nothing. Me and my brothers were harassed under the suspicion laws … those experiences gave me a dual identity on the inside and the outside."

Defying the caricature of industry figures as brash and highly strung, Enninful is calm and projects peace. His life has not been immune to hardship, including publicly shared battles with depression and addiction.

He has also endured serious health challenges, having undergone several surgeries on his eyes, now leaving him with partial sight. "I endured such a difficult period for two years, away from work, anxious I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I thought, if this ever ends, 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 fashion person."

Curating a Cultural Era

This refusal to be defined narrowly has inspired him outside the industry that made his name. He is now putting together a major 1990s exhibition at Tate Britain, featuring work by a host of influential artists and photographers from the era. The show, he says, aims to capture the decade's artistic collaboration – and spotlight those who weren't given a spotlight at the time.

"Institutions often failed to shine a light on the most relevant talents because they weren't of the expected background," he comments.

This venture itself uses a unique business model, eschewing traditional advertising in favour of creative collaborations. "Our approach is, what can we do together? Is it an experience, a series? The magazine is a piece within a greater ecosystem."

An Unstoppable Drive

Now, Enninful stands as one of the world's most respected industry leaders. His journey, he feels, is a proof to the power of following your instincts.

How would the Enninful of that era think of the man he has become? He laughs heartily. "He’d be in shock, but he’d be pleased. Back then I was sceptical of institutions. I never imagined institutions like Tate were a place for someone like me."

He reflects. "I never take anything for granted. We lost our home, we fled our country. I almost lost my vision. So fear isn't an option. People have underestimated me my entire life. But nothing can stop me once I’ve decided to do something."