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

An unexpected discovery during a tube journey in 1988 transformed the course of a teenage Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the city's electric 1990s artistic milieu, evolving from mannequin to stylist and, while still a teenager, becoming the style editor of the iconic i-D.

"That era was the height 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 understood we’d be close. We all mixed across disciplines. Friday became Saturday into Sunday. I yearn for that spontaneity."

Although Enninful appears sentimental, he is not the only one. Lately, a longing look back of the 1990s has reached fever pitch. However over the last thirty years, Enninful feels a significant change. "I feel, we’re less tolerant now than we were in the 90s," he observes. "It’s not even this country – it’s everywhere."

Shifting Attitudes

This shift is difficult to overlook: the resurgence of populist movements, the backlash against social awareness, and the return of Eurocentric beauty standards. In place of the optimism of the Blair era, today a more divisive political figure looms as a possible leader. Furthermore, the British flag, once an symbol of national pride, has sparked debate once more.

For Enninful, the solution has always been to promote 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 portrait of modern Britain, showcasing a diverse array of prominent faces from politics.

"Individuals with a platform should use it," he comments, discussing those publishing choices. "Everyone talks about immigration; I would not be in this position if Britain were not a open country, if it refused my family a refuge and an opportunity. That’s the Britain I cherished. I trust this phase will pass."

A New Wave of Consciousness

He takes comfort in the younger generation: "Their awareness is greater than we were. They analyse unconscious bias – I had no concept what that was."

His formative years would forge a trailblazing career characterised by fearlessness and representation. Enninful set a precedent as the first man, first black man, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His leadership featured landmark covers showcasing models of colour, plus-sized women, an octogenarian, and people from all walks of life. Critically, sales rose.

"To overlook vast segments of the population, it’s more than 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 flagship publication, 72, his first major project since leaving his previous role. He states his aim to continue being a "innovator".

"My nature is to challenge the conventional wisdom. I was raised in a place where Black professionals were the norm – the physicians, the lawyers, the president. Then we came to England, with nothing, and I became the 'other'. I was painfully reserved. My teachers said I’d never amount to anything. Me and my brothers were harassed under the suspicion laws … those experiences gave me a dual identity on the inside and the outside."

Contrary to the caricature of industry figures as loud and highly strung, Enninful is measured in tone and projects peace. His journey has not been immune to challenges, including well-documented struggles with mental health and addiction.

He has also faced serious health challenges, having undergone several surgeries on his eyes, leading to partial sight. "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 ends, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to restrict myself to just being an editor or a fashion person."

Curating a Cultural Era

This determination to be defined narrowly has propelled him away from the industry that made his name. He is now putting together a significant 1990s exhibition at Tate Britain, showcasing work by a group of defining artists and photographers from the era. The show, he explains, aims to explore the decade's interdisciplinary energy – and give platform to those who did not receive due recognition at the time.

"Galleries often failed to promote the right artists because they lacked the right pedigree," he comments.

The magazine 72 itself uses a unique business model, rejecting traditional advertising in favour of integrated partnerships. "Our approach is, what can we do together? Is it an experience, a podcast? The magazine is one component of a larger creative platform."

Looking Forward Without Fear

Now, Enninful operates as one of the world's most respected industry leaders. His journey, he states, is a demonstration to the power of pursuing your passions.

What would the Edward of the 90s make of the his current self? He smiles. "He would be astonished, but he’d be proud. Back then I was a rebel. I didn't think institutions like Tate were a place for someone like me."

He reflects. "I never take anything for granted. We fled, we left our homeland. I came close to losing my vision. So there is no room for fear. People have counted me out my entire life. But I am unstoppable once I’ve set my intention to do something."