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

A chance encounter on the London Underground in 1988 changed forever the trajectory of a young Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the capital's electric 1990s cultural landscape, progressing from model to stylist and, before turning twenty, becoming the style editor of i-D magazine.

"It was the zenith of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I knew we’d be kindred spirits. We all hung out across disciplines. Friday bled into Saturday into Sunday. I yearn for that energy."

While Enninful may seem nostalgic, he is not the only one. Lately, a wistful romanticisation of the 1990s has become pervasive. However in the intervening decades, Enninful feels a noticeable regression. "I believe, we’re more divided now than we were in the 90s," he observes. "The issue extends beyond this country – it’s a global phenomenon."

A Perceived Regression

This change is increasingly evident: the growth of far-right politics, the reaction against progressive values, and the reassertion of Eurocentric beauty standards. Replacing the optimism of the previous decade, currently a more divisive political personality looms as a possible leader. Even, the British flag, once an emblem of Cool Britannia, has returned as a polarising symbol.

For Enninful, the antidote has always been to promote 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 portrait of modern Britain, including a diverse array of prominent faces from literature.

"Those in a position of influence should employ it," he asserts, referring to those publishing choices. "There is much discussion about immigration; I wouldn't be here if Britain were not a welcoming country, if it did not offer my family a refuge and an opportunity. That’s the Britain I cherished. I believe this moment will end."

The Younger Generation's Awareness

He draws solace in the youth of today: "They’re much more aware than we were. They talk about systemic issues – I was not even aware what that was."

Those early experiences would define a groundbreaking career marked by boldness and diversity. Enninful set a precedent as the first man, first Black editor, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His tenure featured landmark covers showcasing models of colour, plus-sized women, an octogenarian, and people from varied communities. Significantly, sales grew.

"When you ignore vast segments of the population, it’s not just that you’re failing to represent – it’s commercially unwise," he explains.

Launching a Creative Venture

He has since founded his agency EE72 and its accompanying magazine, 72, his premier initiative since leaving his former post. 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 physicians, the lawyers, the president. Then we arrived in England, with nothing, and I became the 'other'. I was very shy. My teachers declared I’d achieve nothing. Me and my brothers were harassed under the Sus laws … all that gave me a sense of being both an insider and outsider."

Defying the popular image of industry figures as brash and highly strung, Enninful is calm and exudes calm. His path has not been immune to adversity, including openly discussed struggles with mental health and substance use.

He has also faced serious health issues, having had multiple operations on his eyes, leading to impaired eyesight. "I was in such a time of fear for two years, away from work, anxious I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I vowed, if this ever passes, I’m just going to do everything that I was so fearful to do. I’m not going to limit myself to just being an editor or a fashion person."

A Foray into Curation

This determination to be defined narrowly has led him beyond the world that established him. He is now putting together a significant 1990s exhibition at Tate Britain, showcasing work by a roster of influential artists and photographers from the era. The show, he explains, aims to explore the decade's creative cross-pollination – and spotlight those who lacked adequate attention at the time.

"Galleries sometimes neglected to shine a light on the truly innovative creators because they weren't of the right pedigree," he observes.

This project itself uses a different business model, forgoing 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 greater ecosystem."

Looking Forward Without Fear

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

How would the younger Edward think of the man he has become? He chuckles. "It would be a surprise, but he’d be impressed. Back then I was sceptical of institutions. I would not have believed institutions like Tate were necessarily for me."

He pauses. "Gratitude is key. We fled, we fled our country. I came close to losing my vision. So fear is not a factor. People have underestimated me my entire life. But I am unstoppable once I’ve set my intention to do something."