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

An unexpected discovery during a tube journey in 1988 altered the trajectory of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the city's electric 1990s artistic milieu, progressing from mannequin to stylist and, by the age of 18, becoming the style editor of i-D magazine.

"It was the zenith of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I knew we’d be close. We all mixed across disciplines. Friday bled into Saturday into Sunday. I long for that energy."

While Enninful may seem sentimental, he is in good company. In recent times, a longing look back of the 1990s has become pervasive. However over the last thirty years, Enninful feels a profound shift. "I believe, we’re more divided now than we were in the 90s," he says. "It’s not even this country – it’s a global phenomenon."

A Perceived Regression

This regression is hard to ignore: the rise of nationalist groups, the reaction against progressive values, and the reassertion of Eurocentric beauty standards. Where once there was the hope of the Blair era, now a different political personality appears as a possible leader. Furthermore, the Union Jack, once an symbol of cultural optimism, has returned as a polarising symbol.

For Enninful, the response has always been to celebrate culture in all its variety. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a wide range of cultural icons from literature.

"People with a voice should employ it," he asserts, discussing those editorial decisions. "There is much discussion about immigration; I could not have had this life if Britain hadn't been a lenient country, if it refused my family a refuge and an opportunity. That’s the Britain I believed in. I hope this moment will fade."

The Younger Generation's Awareness

He takes comfort in the youth of today: "They’re much more aware than we were. They analyse systemic issues – I was not even aware what that was."

His formative years would shape a trailblazing career marked by boldness and diversity. Enninful set a precedent as the first male, first black man, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His leadership featured diverse covers showcasing models of colour, plus-sized women, older individuals, and people from all walks of life. Importantly, sales grew.

"Ignoring vast segments of the population, it’s more than that you’re excluding people – it’s commercially unwise," he states.

Launching a Creative Venture

He has since founded his agency EE72 and its flagship publication, 72, his first major project since leaving his former post. He states his aim 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 came to England, with nothing, and I became the 'other'. I was very shy. My teachers declared I’d have no future. Me and my brothers were subject to police stops the Sus laws … this duality gave me a sense of being on the inside and the outside."

In contrast to the stereotype of fashion editors as loud and temperamental, Enninful is softly spoken and radiates serenity. His journey has included its share of challenges, including openly discussed battles with depression and substance use.

He has also undergone significant health issues, having had multiple operations on his eyes, now leaving him with limited vision. "I endured such a difficult period for two years, away from work, terrified I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I vowed, if this ever ends, I’m just going to do everything that I was so scared 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 inspired him away from the world that established him. He is now curating a major 1990s exhibition at Tate Britain, featuring work by a group of defining artists and photographers from the era. The show, he says, aims to evoke the decade's creative cross-pollination – and highlight those who did not receive a spotlight at the time.

"Institutions didn't always promote the most relevant talents because they lacked the right pedigree," he observes.

This project itself operates on a unique business model, eschewing traditional advertising in favour of creative collaborations. "Our approach is, what can we create collaboratively? Is it an experience, a podcast? The magazine is one component of a greater ecosystem."

A Testament to Resilience

Today, Enninful stands as one of the world's most influential cultural influencers. His path, he feels, is a proof to the power of following your instincts.

What would the Edward of the 90s make of the Edward of today? He laughs heartily. "He’d be in shock, but he’d be pleased. Back then I was a rebel. I never imagined institutions like Tate were a place for someone like me."

He reflects. "Gratitude is key. We lost our home, we fled our country. I came close to losing my vision. So fear is not a factor. People have counted me out my whole career. But no obstacle is too great once I’ve decided to do something."