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

A serendipitous meeting on the London Underground in 1988 transformed the course of a teenage Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the city's vibrant 1990s creative scene, moving from mannequin to stylist and, while still a teenager, becoming the fashion director of i-D magazine.

"It was the height of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I understood we’d be great friends. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I yearn for that rawness."

If Enninful sounds wistful, he is far from alone. Lately, a wistful romanticisation of the 1990s has grown intense. However since that time, Enninful believes a significant change. "In my view, we’re less accepting now than we were in the 90s," he observes. "It’s not even this country – it’s a global phenomenon."

A Cultural Backslide

This regression is difficult to overlook: the rise of populist movements, the reaction against progressive values, and the return of narrow beauty standards. In place of the optimism of the Blair era, today a more divisive political personality looms as a potential leader. Furthermore, the British flag, once an emblem of cultural optimism, has sparked debate once more.

For Enninful, the response has always been to champion culture in all its multifaceted forms. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a broad spectrum of prominent faces from art.

"Individuals with a platform should employ it," he comments, explaining those publishing choices. "Everyone talks about immigration; I would not be in this position if Britain was not a lenient country, if it did not offer my family a home and an opportunity. That’s the Britain I cherished. I hope this moment will pass."

The Younger Generation's Awareness

He finds hope in the youth of today: "They’re much more aware than we were. They analyse implicit prejudice – I had no concept what that was."

The beginnings of his career would define a pioneering career characterised by fearlessness and representation. Enninful set a precedent as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His leadership featured historic front pages showcasing people of diverse backgrounds, curvy models, older individuals, and people from varied communities. Importantly, sales increased.

"To overlook vast segments of the population, it’s more than that you’re not being inclusive – it’s bad for business," he explains.

A New Chapter as a 'Disruptor'

He has since founded his new venture EE72 and its flagship publication, 72, his first major project since departing his former post. He states his aim to continue being a "disruptor".

"I’ve always questioned the established norms. I was born and raised in a place where the majority was Black – the physicians, the lawyers, the leader. Then we came to England, without funds, and I was a minority. I was incredibly timid. My teachers predicted I’d achieve nothing. Me and my brothers were subject to police stops the Sus laws … all that gave me a unique perspective both an insider and outsider."

Contrary to the stereotype of fashion editors as brash and highly strung, Enninful is softly spoken and exudes calm. His path has included its share of challenges, including publicly shared struggles with depression and addiction.

He has also endured significant health challenges, having had multiple operations on his eyes, leading to impaired eyesight. "I endured such a difficult period for two years, away from work, anxious I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 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 fashion person."

A Foray into Curation

This drive to be defined narrowly has propelled him outside the world that built his career. He is now organising a significant 1990s exhibition at Tate Britain, showcasing work by a roster of pivotal artists and photographers from the era. The show, he explains, aims to capture the decade's creative cross-pollination – and spotlight those who weren't given due recognition at the time.

"Institutions didn't always celebrate the most relevant talents because they did not have the traditional credentials," he observes.

The magazine 72 itself functions with a novel business model, eschewing traditional advertising in favour of creative collaborations. "Our approach is, what can we create collaboratively? Is it an event, a series? The magazine is part of a larger creative platform."

An Unstoppable Drive

Now, Enninful is regarded as one of the world's most respected cultural influencers. His path, he states, is a testament to the power of following your instincts.

How would the Edward of the 90s think of the his current self? He laughs heartily. "It would be a surprise, but he’d be pleased. In those days I was sceptical of institutions. I didn't think institutions like Tate were necessarily for me."

He pauses. "I never take anything for granted. We were displaced, we fled our country. I came close to losing my vision. So there is no room for fear. People have underestimated me my entire life. But nothing can stop me once I’ve set my intention to do something."