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

A serendipitous meeting on the London Underground in 1988 transformed the path of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the capital's vibrant 1990s artistic milieu, evolving from mannequin to stylist and, before turning twenty, becoming the fashion director of the iconic i-D.

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

Although Enninful appears wistful, he is in good company. In recent times, a fond idealisation of the 1990s has reached fever pitch. But since that time, Enninful perceives a profound shift. "I feel, we’re more divided now than we were in the 90s," he says. "It’s not even this country – it’s worldwide."

A Perceived Regression

This change is hard to ignore: the resurgence of far-right politics, the reaction against progressive values, and the reinforcement of traditional beauty standards. Where once there was the hope of the previous decade, currently a different political figure stands as a potential leader. Even, the Union Jack, once an symbol of national pride, has returned as a polarising symbol.

For Enninful, the solution has consistently been to celebrate culture in all its multifaceted forms. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a broad spectrum of cultural icons from art.

"People with a voice should wield it," he asserts, referring to those publishing choices. "Everyone talks about immigration; I would not be in this position if Britain hadn't been a open country, if it did not offer my family a refuge and an education. That’s the Britain I believed in. I trust this phase will pass."

The Younger Generation's Awareness

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."

The beginnings of his career would shape a groundbreaking career characterised by fearlessness and diversity. Enninful made history as the first man, first black man, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His tenure featured historic front pages showcasing models of colour, plus-sized women, older individuals, and individuals from varied communities. Critically, sales grew.

"Ignoring large portions of the population, it’s more than that you’re excluding people – it’s bad for business," he states.

Launching a Creative Venture

He has established his new venture EE72 and its accompanying magazine, 72, his first major project since moving on from his previous role. He says he wants to continue being a "change-maker".

"I’ve always questioned the status quo. I was brought up in a place where the majority was Black – the physicians, the lawyers, the president. Then we arrived in England, with nothing, and I was a minority. I was very shy. My teachers predicted I’d achieve nothing. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a sense of being on the inside and the outside."

Defying the popular image of industry figures as loud and highly strung, Enninful is measured in tone and exudes calm. His journey has included its share of hardship, including well-documented struggles with depression and substance use.

He has also endured serious health challenges, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I was in such a dark place for two years, not working, fearing I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever ends, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to limit myself to just being an editor or a fashion person."

Curating a Cultural Era

This refusal to fit into a box has led him away from the world that made his name. He is now putting together a seminal 1990s exhibition at Tate Britain, showcasing work by a roster of influential artists and photographers from the era. The show, he notes, aims to evoke the decade's creative cross-pollination – and highlight those who did not receive adequate attention at the time.

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

This project itself operates on a unique business model, eschewing traditional advertising in favour of integrated partnerships. "The question is, what can we achieve in partnership? Is it an experience, a podcast? The magazine is one component of a broader vision."

A Testament to Resilience

Today, Enninful stands as one of the world's most respected cultural influencers. His journey, he feels, is a testament to the power of pursuing your passions.

How would the Enninful of that era react to the man he has become? He laughs heartily. "It would be a surprise, but he’d be pleased. At that time I was sceptical of institutions. I didn't think institutions like Tate were necessarily for me."

He reflects. "Gratitude is key. We were displaced, we left our homeland. I came close to losing my vision. So there is no room for fear. People have doubted me my whole career. But nothing can stop me once I’ve made up my mind to do something."