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

An unexpected discovery while riding the tube in 1988 transformed the course of a teenage Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the London's vibrant 1990s creative scene, evolving from mannequin to stylist and, by the age of 18, becoming the fashion director of the iconic i-D.

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

Although Enninful appears sentimental, he is in good company. In recent times, a longing look back of the 1990s has reached fever pitch. But since that time, Enninful feels a significant change. "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 regression is increasingly evident: the rise of populist movements, the backlash against progressive values, and the reinforcement of Eurocentric beauty standards. In place of the optimism of the late 90s, now a more divisive political force looms as a possible leader. Even, the British flag, once an symbol of cultural optimism, has returned as a polarising symbol.

According to Enninful, the antidote has always been to celebrate culture in all its variety. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a diverse array of cultural icons from politics.

"Those in a position of influence should wield it," he comments, discussing those publishing choices. "There is much discussion about immigration; I wouldn't be here if Britain were not a lenient country, if it did not offer my family a refuge and an education. That’s the Britain I cherished. I trust this moment will pass."

The Younger Generation's Awareness

He draws solace in the next generation: "They’re much more aware than we were. They analyse unconscious bias – I didn't even know what that was."

His formative years would forge a pioneering career built on boldness and inclusivity. Enninful made history as the first male, first Black editor, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His time featured historic front pages showcasing Black models, curvy models, an octogenarian, and individuals from varied communities. Critically, sales increased.

"To overlook huge sections of the population, it’s more than that you’re failing to represent – it’s a poor strategy," he explains.

A New Chapter as a 'Disruptor'

He has established his new venture EE72 and its flagship publication, 72, his premier initiative since leaving his previous role. He states his aim to continue being a "disruptor".

"I’ve always questioned the conventional wisdom. I was raised in a place where everybody was black – the doctors, the lawyers, the president. Then we came to England, without funds, and I became the 'other'. I was very shy. My teachers predicted I’d achieve nothing. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a sense of being on the inside and the outside."

Defying the caricature of fashion editors as loud and highly strung, Enninful is calm and radiates serenity. His life has included its share of adversity, including publicly shared struggles with depression and substance use.

He has also endured serious health issues, having undergone several surgeries on his eyes, leading to limited vision. "I was in such a difficult period for two years, away from work, terrified I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I prayed, if this ever passes, I’m just going to do everything that I was so afraid to do. I’m not going to limit myself to just being an editor or a fashion person."

A Foray into Curation

This drive to fit into a box has inspired him outside the world that built his career. He is now organising a seminal 1990s exhibition at Tate Britain, showcasing work by a roster of pivotal artists and photographers from the era. The show, he notes, aims to evoke the decade's creative cross-pollination – and give platform to those who did not receive due recognition at the time.

"The establishment often failed to promote the most relevant talents because they weren't of the expected background," he comments.

This venture itself functions with a different business model, rejecting traditional advertising in favour of integrated partnerships. "Our approach is, what can we create collaboratively? Is it an event, a podcast? The magazine is one component of a greater ecosystem."

An Unstoppable Drive

Today, Enninful operates as one of the world's most powerful creative power brokers. His story, he believes, is a demonstration to the power of following your instincts.

How would the Enninful of that era react to the his current self? He chuckles. "He’d be in shock, but he’d be impressed. At that time I was sceptical of institutions. I never imagined institutions like Tate were a place for someone like me."

He reflects. "Gratitude is key. We were displaced, we fled our country. I nearly lost my vision. So there is no room for fear. People have counted me out my entire life. But I am unstoppable once I’ve made up my mind to do something."