Edward Enninful on Modern Britain: 'Britain Feels Less Tolerant Now' Than in the 90s.

An unexpected discovery while riding the tube in 1988 transformed the path of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the London's electric 1990s artistic milieu, evolving from mannequin to stylist and, by the age of 18, becoming the fashion director of the publication i-D.

"It was the height of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I felt we’d be close. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I miss that spontaneity."

While Enninful may seem wistful, he is in good company. Lately, a longing look back of the 1990s has grown intense. However in the intervening decades, Enninful feels a noticeable regression. "In my view, we’re less accepting now than we were in the 90s," he observes. "This isn't just this country – it’s worldwide."

A Perceived Regression

This regression is increasingly evident: the growth of populist movements, the pushback against social awareness, and the return of traditional beauty standards. Where once there was the optimism of the previous decade, now a different political force appears as a possible leader. Even, the Union Jack, once an badge of national pride, has become contentious again.

According to Enninful, the solution has long been to promote culture in all its variety. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a broad spectrum of influential figures from literature.

"Those in a position of influence should use it," he asserts, explaining those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain were not a open country, if it hadn't given my family a home and an education. That’s the Britain I believed in. I believe this moment will fade."

A New Wave of Consciousness

He draws solace in the younger generation: "Their awareness is greater than we were. They analyse implicit prejudice – I was not even aware what that was."

His formative years would forge a groundbreaking career built on boldness and diversity. Enninful made history as the first male, first black man, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His tenure featured diverse covers showcasing models of colour, plus-sized women, an octogenarian, and people from varied communities. Significantly, sales grew.

"To overlook huge sections 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 departing his previous role. He expresses a desire to continue being a "change-maker".

"My nature is to challenge the established norms. I was born and raised in a place where Black professionals were the norm – the physicians, the lawyers, the president. Then we arrived in England, penniless, and I found myself on the margins. I was very shy. My teachers declared I’d achieve nothing. Me and my brothers were subject to police stops the Sus laws … this duality gave me a dual identity between worlds."

Defying the caricature of industry figures as brash and highly strung, Enninful is softly spoken and radiates serenity. His journey has not been immune to adversity, including openly discussed battles with depression and substance use.

He has also undergone serious health challenges, having had multiple operations on his eyes, now leaving him with limited vision. "I experienced such a difficult period for two years, not working, fearing I was going to go blind. It’s like PTSD; you just live in fear 24/7. I thought, if this ever passes, I’m just going to do everything that I was so afraid to do. I’m not going to limit 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 realm that made his name. He is now organising a seminal 1990s exhibition at Tate Britain, bringing together work by a host of pivotal artists and photographers from the era. The show, he says, aims to capture the decade's artistic collaboration – and give platform to those who weren't given due recognition at the time.

"The establishment sometimes neglected to promote the most relevant talents because they lacked the expected background," he comments.

The magazine 72 itself uses a different business model, forgoing traditional advertising in favour of integrated partnerships. "The question is, what can we do together? Is it an event, a podcast? The magazine is one component of a greater ecosystem."

Looking Forward Without Fear

Now, Enninful is regarded as one of the world's most powerful industry leaders. His path, he believes, is a testament to the power of pursuing your passions.

What would the Enninful of that era react to the his current self? He chuckles. "He’d be in shock, but he’d be impressed. In those days I was anti-establishment. I never imagined institutions like Tate were a place for someone like me."

He adds. "Gratitude is key. We were displaced, we left our homeland. I nearly lost my vision. So there is no room for fear. People have underestimated me my entire life. But I am unstoppable once I’ve made up my mind to do something."