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

A chance encounter during a tube journey in 1988 altered the path of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the city's electric 1990s creative scene, evolving from mannequin to stylist and, by the age of 18, becoming the fashion director of the publication i-D.

"That time was the peak of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I felt we’d be close. We all socialised across disciplines. Friday became Saturday into Sunday. I miss that rawness."

While Enninful may seem nostalgic, he is in good company. Recently, a wistful romanticisation of the 1990s has grown intense. Yet since that time, Enninful believes a noticeable regression. "I believe, we’re less tolerant now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s a global phenomenon."

A Perceived Regression

This regression is difficult to overlook: the rise of nationalist groups, the reaction against so-called "wokeness", and the reinforcement of traditional beauty standards. Replacing the optimism of the previous decade, now a different political personality appears as a potential leader. Furthermore, the Union Jack, once an symbol of Cool Britannia, has become contentious again.

In Enninful's view, the response has always been to champion culture in all its variety. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a broad spectrum of cultural icons from art.

"People with a voice should wield it," he says, discussing those editorial decisions. "There is much discussion about immigration; I would not be in this position if Britain were not a lenient country, if it did not offer my family a home and an education. That’s the Britain I believed in. I trust this period will end."

Hope in the Next Generation

He finds hope in the next generation: "They are far more conscious than we were. They talk about unconscious bias – I was not even aware what that was."

Those early experiences would forge a pioneering career characterised by fearlessness and representation. Enninful set a precedent as the first male, first Black editor, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His time featured landmark covers showcasing models of colour, curvy models, an octogenarian, and individuals from all walks of life. Significantly, sales grew.

"To overlook huge sections of the population, it’s not just that you’re not being inclusive – it’s bad for business," he emphasises.

Launching a Creative Venture

He has since founded his agency EE72 and its flagship publication, 72, his key endeavour since departing his former post. He expresses a desire to continue being a "disruptor".

"I constantly interrogate the conventional wisdom. I was born and raised in a place where Black professionals were the norm – the doctors, the lawyers, the leader. Then we came to England, with nothing, and I became the 'other'. I was very shy. My teachers said I’d achieve nothing. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a dual identity both an insider and outsider."

Contrary to the stereotype of fashion editors as brash and highly strung, Enninful is calm and radiates serenity. His journey has included its share of adversity, including openly discussed periods of depression and addiction.

He has also endured significant health challenges, having undergone several surgeries on his eyes, leading to limited vision. "I was in such a dark place for two years, away from work, terrified I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I thought, if this ever is over, I’m just going to do everything that I was so fearful to do. I’m not going to limit myself to just being an editor or a fashion person."

Curating a Cultural Era

This refusal to be typecast has inspired him beyond the world that established him. He is now putting together a seminal 1990s exhibition at Tate Britain, featuring work by a roster of defining artists and photographers from the era. The show, he notes, aims to evoke the decade's artistic collaboration – and spotlight those who weren't given a spotlight at the time.

"Institutions sometimes neglected to celebrate the right artists because they did not have the traditional credentials," he comments.

The magazine 72 itself uses a different business model, eschewing traditional advertising in favour of creative collaborations. "Our approach is, what can we create collaboratively? Is it an event, a series? The magazine is one component of a greater ecosystem."

Looking Forward Without Fear

Today, Enninful is regarded as one of the world's most powerful creative power brokers. His path, he feels, is a demonstration to the power of defying expectations.

What would the Edward of the 90s make of the man he has become? He smiles. "He’d be in shock, but he’d be impressed. Back then I was a rebel. I would not have believed institutions like Tate were a place for someone like me."

He pauses. "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 set my intention to do something."