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

A serendipitous meeting during a tube journey in 1988 transformed the path of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the city's electric 1990s creative scene, moving from model to stylist and, while still a teenager, becoming the style editor of the publication i-D.

"That time was the zenith of the Britart scene – 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 kindred spirits. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I long for that energy."

If Enninful sounds nostalgic, he is not the only one. Lately, a longing look back of the 1990s has grown intense. However in the intervening decades, Enninful perceives a profound shift. "In my view, we’re less accepting now than we were in the 90s," he says. "It’s not even this country – it’s worldwide."

A Perceived Regression

This regression is difficult to overlook: the growth of nationalist groups, the reaction against social awareness, and the reinforcement of traditional beauty standards. Where once there was the hope of the late 90s, today a more divisive political figure stands as a potential leader. Furthermore, the British flag, once an badge of cultural optimism, has become contentious again.

In Enninful's view, the solution has long been to promote culture in all its diversity. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a wide range of prominent faces from literature.

"Individuals with a platform should use it," he comments, discussing those publishing choices. "There is much discussion about immigration; I could not have had this life if Britain were not a welcoming country, if it refused my family a refuge and an education. That’s the Britain I believed in. I hope this period will end."

A New Wave of Consciousness

He draws solace in the next generation: "They’re much more aware than we were. They talk about systemic issues – I had no concept what that was."

The beginnings of his career would define a pioneering career built on fearlessness and inclusivity. Enninful made history as the first male, first Black editor, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His tenure featured diverse covers showcasing models of colour, curvy models, older individuals, and individuals from varied communities. Importantly, sales increased.

"When you ignore huge sections of the population, it’s not just that you’re not being inclusive – it’s bad for business," he states.

Launching a Creative Venture

He has recently launched his new venture EE72 and its flagship publication, 72, his key endeavour since leaving his former post. He says he wants to continue being a "innovator".

"I constantly interrogate the status quo. I was raised in a place where Black professionals were the norm – the physicians, the lawyers, the president. Then we came to England, without funds, and I became the 'other'. I was incredibly timid. My teachers said I’d never amount to anything. Me and my brothers were stopped by the police the suspicion laws … those experiences gave me a unique perspective between worlds."

In contrast to the caricature of fashion editors as loud and temperamental, Enninful is measured in tone and radiates serenity. His life has not been immune to adversity, including well-documented periods of mental health and addiction.

He has also undergone significant health challenges, having had multiple operations on his eyes, leading to impaired eyesight. "I experienced such a dark place for two years, away from work, terrified I was going to lose my sight. It’s comparable 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 confine myself to just being an editor or a fashion person."

Curating a Cultural Era

This drive to be typecast has inspired him away from the industry that established him. He is now organising a significant 1990s exhibition at Tate Britain, bringing together work by a host of pivotal artists and photographers from the era. The show, he explains, aims to evoke the decade's creative cross-pollination – and highlight those who weren't given a spotlight at the time.

"Galleries didn't always shine a light on the truly innovative creators because they lacked the right pedigree," he states.

This project itself operates on a novel business model, eschewing traditional advertising in favour of partnership-based projects. "Our approach is, what can we create collaboratively? Is it an event, a podcast? The magazine is one component of a greater ecosystem."

A Testament to Resilience

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

How would the younger Edward react to the man he has become? He laughs heartily. "He’d be in shock, but he’d be pleased. At that time I was a rebel. I would not have believed institutions like Tate were within my reach."

He adds. "I never take anything for granted. We fled, we fled our country. I nearly lost my vision. So fear isn't an option. People have counted me out my whole career. But nothing can stop me once I’ve made up my mind to do something."