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

An unexpected discovery while riding the tube in 1988 altered the trajectory of a teenage Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the city's buzzing 1990s creative scene, progressing from mannequin to stylist and, by the age of 18, becoming the style editor of the publication i-D.

"That era was the peak of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I understood we’d be great friends. We all mixed across disciplines. Friday bled into Saturday into Sunday. I yearn for that spontaneity."

Although Enninful appears nostalgic, he is in good company. In recent times, a fond idealisation of the 1990s has grown intense. However since that time, Enninful believes a noticeable regression. "I feel, we’re more divided now than we were in the 90s," he remarks. "This isn't just this country – it’s worldwide."

A Perceived Regression

This change is hard to ignore: the rise of populist movements, the pushback against progressive values, and the reassertion of traditional beauty standards. Replacing the hope of the Blair era, now a different political personality appears as a possible leader. Furthermore, the British flag, once an badge of Cool Britannia, has become contentious again.

In Enninful's view, the response has always been to champion 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, including a broad spectrum of prominent faces from literature.

"People with a voice should wield it," he comments, explaining those editorial decisions. "Everyone talks about immigration; I would not be in this position if Britain were not a lenient country, if it refused my family a home and an opportunity. That’s the Britain I always loved. I believe this phase will end."

The Younger Generation's Awareness

He takes comfort in the next generation: "Their awareness is greater than we were. They talk about unconscious bias – I was not even aware what that was."

The beginnings of his career would define a pioneering career marked by boldness and diversity. Enninful broke barriers as the first man, first black man, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His time featured historic front pages showcasing Black models, plus-sized women, older individuals, and individuals from all walks of life. Significantly, sales rose.

"When you ignore large portions of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he emphasises.

Launching a Creative Venture

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 "change-maker".

"I’ve always questioned the status quo. I was born and raised in a place where the majority was Black – the physicians, the attorneys, the leader. Then we came to England, with nothing, and I became the 'other'. I was incredibly timid. My teachers declared I’d achieve nothing. Me and my brothers were harassed under the suspicion laws … all that gave me a dual identity both an insider and outsider."

Contrary to the popular image of fashion editors as brash and highly strung, Enninful is measured in tone and radiates serenity. His path has involved challenges, including openly discussed battles with depression and addiction.

He has also undergone significant health issues, having undergone several surgeries on his eyes, leading to limited vision. "I was in such a dark place for two years, away from work, fearing I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I thought, if this ever is over, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to confine myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This determination to be defined narrowly has inspired him beyond the realm that built his career. He is now putting together a significant 1990s exhibition at Tate Britain, showcasing work by a host of defining artists and photographers from the era. The show, he says, aims to evoke the decade's creative cross-pollination – and give platform to those who lacked adequate attention at the time.

"Galleries sometimes neglected to shine a light on the most relevant talents because they did not have the right pedigree," he comments.

This venture itself uses a different business model, eschewing traditional advertising in favour of integrated partnerships. "Our approach is, what can we achieve in partnership? Is it an experience, a series? The magazine is part of a larger creative platform."

Looking Forward Without Fear

Currently, Enninful is regarded as one of the world's most powerful creative power brokers. His story, he feels, is a demonstration to the power of pursuing your passions.

How would the Edward of the 90s react to the man he has become? He laughs heartily. "He would be astonished, but he’d be pleased. Back then I was sceptical of institutions. I didn't think institutions like Tate were a place for someone like me."

He pauses. "Nothing is assumed. We fled, we fled our country. I almost lost my vision. So fear isn't an option. People have doubted me my whole career. But nothing can stop me once I’ve set my intention to do something."