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

An unexpected discovery on the London Underground in 1988 transformed the path of a young Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was quickly drawn into the capital's electric 1990s creative scene, evolving from mannequin to stylist and, before turning twenty, becoming the fashion director of the publication i-D.

"That time was the height of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I knew we’d be close. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I miss that rawness."

While Enninful may seem nostalgic, he is in good company. Recently, a fond idealisation of the 1990s has become pervasive. But since that time, Enninful perceives a profound shift. "In my view, we’re more divided now than we were in the 90s," he says. "The issue extends beyond this country – it’s worldwide."

Shifting Attitudes

This regression is difficult to overlook: the growth of far-right politics, the backlash against progressive values, and the reinforcement of Eurocentric beauty standards. Replacing the hope of the Blair era, today a more divisive political personality looms as a possible leader. Furthermore, the Union Jack, once an symbol of Cool Britannia, has sparked debate once more.

According to Enninful, the antidote has consistently been to promote culture in all its multifaceted forms. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a wide range of cultural icons from literature.

"Individuals with a platform should employ it," he says, referring to those editorial decisions. "There is much discussion about immigration; I could not have had this life if Britain were not a welcoming country, if it did not offer my family a home and an education. That’s the Britain I cherished. I believe this period will pass."

The Younger Generation's Awareness

He draws solace in the next generation: "They are far more conscious than we were. They talk about implicit prejudice – I didn't even know what that was."

Those early experiences would shape a pioneering career built on boldness and diversity. Enninful broke barriers as the first male, first black man, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His time featured historic front pages showcasing Black models, curvy models, older individuals, and individuals from varied communities. Importantly, sales grew.

"When you ignore huge sections of the population, it’s not just that you’re excluding people – it’s a poor strategy," he states.

Launching a Creative Venture

He has established his creative company EE72 and its flagship publication, 72, his key endeavour since moving on from his previous role. He states his aim to continue being a "disruptor".

"My nature is to challenge 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 became the 'other'. I was painfully reserved. My teachers predicted I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … this duality gave me a unique perspective both an insider and outsider."

In contrast to the popular image of industry figures as loud and temperamental, Enninful is calm and radiates serenity. His path has included its share of adversity, including openly discussed periods of depression and substance use.

He has also endured serious health issues, having had multiple operations on his eyes, leading to partial sight. "I endured such a time of fear for two years, not working, fearing I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I vowed, if this ever is over, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to confine myself to just being an editor or a fashion person."

A Foray into Curation

This determination to fit into a box has propelled him away from the industry that built his career. He is now organising a significant 1990s exhibition at Tate Britain, bringing together work by a group of defining artists and photographers from the era. The show, he explains, aims to capture the decade's creative cross-pollination – and spotlight those who lacked adequate attention at the time.

"The establishment often failed to promote the truly innovative creators because they lacked the expected background," he comments.

This venture itself functions with a different strategy, eschewing traditional advertising in favour of creative collaborations. "Our approach is, what can we create collaboratively? Is it an experience, a podcast? The magazine is a piece within a broader vision."

A Testament to Resilience

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

How would the younger Edward make of the Edward of today? He laughs heartily. "He would be astonished, but he’d be pleased. In those days I was sceptical of institutions. I never imagined institutions like Tate were within my reach."

He reflects. "Nothing is assumed. We were displaced, we fled our country. I almost lost my vision. So there is no room for fear. People have doubted me my entire life. But I am unstoppable once I’ve made up my mind to do something."