Edward Enninful on Modern Britain: 'Britain Feels Less Tolerant Now' Compared to the Nineties.

An unexpected discovery while riding the tube in 1988 changed forever the path of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the city's buzzing 1990s creative scene, moving from model to stylist and, while still a teenager, becoming the style editor of the iconic i-D.

"That time was the zenith of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I knew we’d be close. We all hung out across disciplines. Friday became Saturday into Sunday. I miss that energy."

Although Enninful appears sentimental, he is far from alone. Lately, a wistful romanticisation of the 1990s has grown intense. Yet over the last thirty years, Enninful perceives a profound shift. "I feel, we’re less tolerant now than we were in the 90s," he says. "This isn't just this country – it’s a global phenomenon."

A Cultural Backslide

This shift is difficult to overlook: the rise of nationalist groups, the reaction against social awareness, and the reassertion of narrow beauty standards. In place of the hope of the late 90s, now a different political figure looms as a potential leader. Even, the Union Jack, once an badge of national pride, has become contentious again.

According to Enninful, the antidote has long been to champion culture in all its multifaceted forms. 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 prominent faces from music.

"Those in a position of influence should wield it," he says, referring to those editorial decisions. "People often debate about immigration; I could not have had this life if Britain were not a welcoming country, if it refused my family a home and an opportunity. That’s the Britain I believed in. I trust this period will end."

The Younger Generation's Awareness

He takes comfort in the next generation: "Their awareness is greater than we were. They talk about unconscious bias – I didn't even know what that was."

His formative years would define a groundbreaking career marked by boldness and inclusivity. Enninful broke barriers as the first man, first black man, first gay man, and first disabled gay man of colour 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. Significantly, sales grew.

"When you ignore large portions of the population, it’s more than that you’re excluding people – it’s commercially unwise," he explains.

A New Chapter as a 'Disruptor'

He has recently launched his agency EE72 and its flagship publication, 72, his first major project since departing his previous role. He states his aim to continue being a "disruptor".

"My nature is to challenge the established norms. I was brought up in a place where the majority was Black – the doctors, the attorneys, the leader. Then we arrived in England, with nothing, and I was a minority. I was very shy. My teachers said I’d never amount to anything. Me and my brothers were stopped by the police the Sus laws … those experiences gave me a unique perspective between worlds."

In contrast to the popular image of industry figures as loud and highly strung, Enninful is softly spoken and exudes calm. His path has included its share of challenges, including openly discussed periods of depression and addiction.

He has also undergone serious health issues, having had multiple operations on his eyes, leading to limited vision. "I was in such a difficult period for two years, not working, terrified I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I prayed, if this ever is over, I’m just going to pursue all that I was so scared 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 typecast has propelled him outside the industry that made his name. He is now curating a major 1990s exhibition at Tate Britain, bringing together work by a group of defining artists and photographers from the era. The show, he notes, aims to explore the decade's creative cross-pollination – and give platform to those who did not receive adequate attention at the time.

"The establishment didn't always promote the truly innovative creators because they did not have the right pedigree," he comments.

The magazine 72 itself operates on a novel strategy, eschewing traditional advertising in favour of creative collaborations. "Our approach is, what can we achieve in partnership? Is it an event, a series? The magazine is one component of a larger creative platform."

Looking Forward Without Fear

Currently, Enninful is regarded as one of the world's most respected creative power brokers. His journey, he believes, is a proof to the power of defying expectations.

How would the Edward of the 90s make of the his current self? He chuckles. "He would be astonished, but he’d be proud. Back then I was anti-establishment. I would not have believed 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 counted me out my entire life. But no obstacle is too great once I’ve made up my mind to do something."