Edward Enninful on Modern Britain: 'A Decline in Tolerance' Than in the 90s.

A chance encounter during a tube journey in 1988 changed forever the course of a teenage Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the London's electric 1990s artistic milieu, evolving from mannequin to stylist and, while still a teenager, becoming the fashion director of i-D magazine.

"It was the peak of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I felt we’d be kindred spirits. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I miss that rawness."

Although Enninful appears sentimental, he is not the only one. In recent times, a fond idealisation of the 1990s has grown intense. But in the intervening decades, Enninful perceives a noticeable regression. "I feel, we’re more divided now than we were in the 90s," he says. "It’s not even this country – it’s everywhere."

Shifting Attitudes

This change is increasingly evident: the growth of nationalist groups, the backlash against so-called "wokeness", and the reinforcement of narrow beauty standards. In place of the hope of the previous decade, today a different political force appears as a possible leader. Furthermore, the Union Jack, once an badge of cultural optimism, has become contentious again.

For Enninful, the response has consistently been to champion culture in all its diversity. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a diverse array of prominent faces from politics.

"People with a voice should wield it," he says, discussing those editorial decisions. "Everyone talks about immigration; I could not have had this life if Britain hadn't been a welcoming country, if it hadn't given my family a home and an opportunity. That’s the Britain I cherished. I trust this period will pass."

A New Wave of Consciousness

He finds hope in the younger generation: "Their awareness is greater than we were. They analyse systemic issues – I didn't even know what that was."

The beginnings of his career would shape a pioneering career characterised by boldness and inclusivity. Enninful broke barriers as the first male, first black man, first gay man, and first disabled gay man of colour to lead at British Vogue. His tenure featured diverse covers showcasing Black models, curvy models, older individuals, and people from all walks of life. Critically, sales rose.

"When you ignore vast segments of the population, it’s more than that you’re excluding people – it’s commercially unwise," he explains.

A New Chapter as a 'Disruptor'

He has since founded his creative company EE72 and its flagship publication, 72, his premier initiative since departing his former post. He expresses a desire to continue being a "disruptor".

"I constantly interrogate the established norms. I was raised in a place where the majority was Black – the physicians, the lawyers, the president. Then we came to England, penniless, and I found myself on the margins. I was painfully reserved. My teachers predicted I’d never amount to anything. Me and my brothers were subject to police stops the Sus laws … those experiences gave me a dual identity both an insider and outsider."

In contrast to the caricature of industry figures as brash and highly strung, Enninful is calm and radiates serenity. His path has involved adversity, including well-documented periods of depression and substance use.

He has also endured significant health issues, having had multiple operations on his eyes, leading to impaired eyesight. "I experienced such a dark place for two years, not working, anxious 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 do everything that I was so scared to do. I’m not going to restrict myself to just being an editor or a fashion person."

Curating a Cultural Era

This drive to fit into a box has led him outside the world that built his career. He is now curating a seminal 1990s exhibition at Tate Britain, showcasing work by a host of influential artists and photographers from the era. The show, he says, aims to capture the decade's creative cross-pollination – and highlight those who did not receive due recognition at the time.

"Galleries often failed to celebrate the truly innovative creators because they did not have the traditional credentials," he observes.

This venture itself operates on a novel strategy, forgoing traditional advertising in favour of partnership-based projects. "We ask, what can we do together? Is it an experience, a series? The magazine is part of a larger creative platform."

A Testament to Resilience

Today, Enninful operates as one of the world's most powerful industry leaders. His story, he states, is a demonstration to the power of pursuing your passions.

How would the Enninful of that era make of the his current self? He chuckles. "It would be a surprise, but he’d be impressed. In those days I was anti-establishment. I would not have believed institutions like Tate were necessarily for me."

He reflects. "Gratitude is key. We fled, we left our homeland. I came close to losing my vision. So there is no room for fear. People have counted me out my whole career. But no obstacle is too great once I’ve set my intention to do something."