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

A chance encounter while riding the tube in 1988 changed forever the path of a teenage Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the London's electric 1990s creative scene, moving from model to stylist and, before turning twenty, becoming the style editor of the publication i-D.

"It was the peak of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I felt we’d be great friends. We all hung out across disciplines. Friday became Saturday into Sunday. I long for that energy."

Although Enninful appears sentimental, he is in good company. Recently, a wistful romanticisation of the 1990s has become pervasive. But since that time, Enninful feels a noticeable regression. "I believe, we’re more divided now than we were in the 90s," he says. "This isn't just this country – it’s worldwide."

A Cultural Backslide

This change is difficult to overlook: the rise of populist movements, the backlash against progressive values, and the reinforcement of narrow beauty standards. Where once there was the optimism of the late 90s, today a different political figure stands as a potential leader. Furthermore, the British flag, once an symbol of Cool Britannia, has become contentious again.

According to Enninful, the solution has long been to champion culture in all its diversity. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a diverse array of prominent faces from music.

"Those in a position of influence should use it," he says, explaining those publishing choices. "Everyone talks about immigration; I would not be in this position if Britain was not a open country, if it hadn't given my family a refuge and an education. That’s the Britain I believed in. I hope this period will pass."

Hope in the Next Generation

He draws solace in the youth of today: "Their awareness is greater than we were. They analyse unconscious bias – I didn't even know what that was."

The beginnings of his career would shape a groundbreaking career marked by fearlessness and diversity. Enninful set a precedent as the first male, first black man, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His leadership featured diverse covers showcasing models of colour, curvy models, older individuals, and people from varied communities. Critically, sales rose.

"To overlook large portions of the population, it’s not just that you’re failing to represent – it’s a poor strategy," he explains.

Beyond the Magazine World

He has recently launched his new venture EE72 and its accompanying magazine, 72, his first major project since departing his former post. He states his aim to continue being a "disruptor".

"I’ve always questioned the conventional wisdom. I was born and raised in a place where everybody was black – the doctors, the attorneys, the leader. Then we arrived in England, penniless, and I found myself on the margins. I was incredibly timid. My teachers said I’d have no future. Me and my brothers were harassed under the suspicion laws … this duality gave me a sense of being on the inside and the outside."

In contrast to the stereotype of industry figures as loud and highly strung, Enninful is calm and projects peace. His journey has involved hardship, including openly discussed periods of depression and addiction.

He has also endured serious health challenges, having undergone several surgeries on his eyes, now leaving him with 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 live in fear 24/7. I prayed, if this ever ends, I’m just going to pursue all that I was so afraid to do. I’m not going to confine myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This drive to be defined narrowly has inspired him outside the realm that built his career. He is now curating a seminal 1990s exhibition at Tate Britain, showcasing work by a group of influential artists and photographers from the era. The show, he notes, aims to explore the decade's creative cross-pollination – and spotlight 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 expected background," he comments.

This venture itself uses a novel business model, eschewing traditional advertising in favour of partnership-based projects. "We ask, what can we create collaboratively? Is it an event, a series? The magazine is a piece within a larger creative platform."

A Testament to Resilience

Currently, Enninful is regarded as one of the world's most influential cultural influencers. His path, he feels, is a proof to the power of defying expectations.

How would the Edward of the 90s make of the man he has become? He chuckles. "He would be astonished, but he’d be proud. Back then I was sceptical of institutions. I didn't think institutions like Tate were a place for someone like me."

He pauses. "I never take anything for granted. We were displaced, we left our homeland. I nearly lost 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."