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

A chance encounter while riding the tube in 1988 changed forever the course of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the London's buzzing 1990s artistic milieu, progressing from model to stylist and, by the age of 18, becoming the style editor of i-D magazine.

"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 felt we’d be close. We all hung out across disciplines. Friday became Saturday into Sunday. I miss that energy."

If Enninful sounds sentimental, he is in good company. Recently, a fond idealisation of the 1990s has grown intense. But since that time, Enninful perceives a profound shift. "In my view, we’re more divided now than we were in the 90s," he observes. "It’s not even this country – it’s a global phenomenon."

A Cultural Backslide

This change is increasingly evident: the rise of far-right politics, the reaction against social awareness, and the reassertion of narrow beauty standards. In place of the optimism of the previous decade, currently a different political force appears as a potential leader. Furthermore, the British flag, once an symbol of Cool Britannia, has returned as a polarising symbol.

According to Enninful, the antidote has always been to celebrate culture in all its diversity. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a diverse array of prominent faces from music.

"People with a voice should employ it," he asserts, discussing those publishing choices. "There is much discussion about immigration; I would not be in this position if Britain were not a welcoming country, if it did not offer my family a home and an education. That’s the Britain I always loved. I trust this moment will fade."

The Younger Generation's Awareness

He finds hope in the younger generation: "Their awareness is greater than we were. They analyse unconscious bias – I had no concept what that was."

His formative years would shape a pioneering career marked by boldness and inclusivity. Enninful set a precedent as the first male, first black man, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His time featured historic front pages showcasing models of colour, curvy models, older individuals, and people from all walks of life. Importantly, sales grew.

"When you ignore vast segments of the population, it’s not just that you’re not being inclusive – it’s a poor strategy," he emphasises.

A New Chapter as a 'Disruptor'

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

"I constantly interrogate the status quo. I was born and raised in a place where Black professionals were the norm – the doctors, the lawyers, the president. Then we came to England, without funds, and I was a minority. I was painfully reserved. My teachers declared I’d have no future. Me and my brothers were harassed under the Sus laws … all that gave me a unique perspective both an insider and outsider."

In contrast to the stereotype of industry figures as brash and temperamental, Enninful is softly spoken and projects peace. His path has included its share of hardship, including publicly shared struggles with mental health and substance use.

He has also undergone serious health issues, having had multiple operations on his eyes, now leaving him with partial sight. "I was in such a dark place for two years, away from work, terrified I was going to go blind. It’s like PTSD; you just live in fear 24/7. I prayed, if this ever ends, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to restrict myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This determination to be typecast has inspired him away from the industry that made his name. He is now curating a significant 1990s exhibition at Tate Britain, bringing together work by a host of defining artists and photographers from the era. The show, he explains, aims to explore the decade's artistic collaboration – and spotlight those who lacked a spotlight at the time.

"Institutions often failed to shine a light on the right artists because they weren't of the traditional credentials," he observes.

This venture itself operates on a different strategy, forgoing traditional advertising in favour of integrated partnerships. "We ask, what can we do together? Is it an experience, a series? The magazine is a piece within a broader vision."

A Testament to Resilience

Today, Enninful stands as one of the world's most influential creative power brokers. His journey, he believes, is a demonstration to the power of pursuing your passions.

How would the Enninful of that era think of the his current self? He smiles. "He would be astonished, but he’d be pleased. At that time I was a rebel. I would not have believed institutions like Tate were necessarily for me."

He reflects. "I never take anything for granted. We lost our home, we left our homeland. I nearly lost my vision. So fear isn't an option. People have counted me out my entire life. But nothing can stop me once I’ve decided to do something."