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

A serendipitous meeting while riding the tube in 1988 changed forever the path of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the capital's vibrant 1990s artistic milieu, moving from model to stylist and, before turning twenty, becoming the style editor of the iconic i-D.

"That era was the height of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I understood we’d be close. We all mixed across disciplines. Friday became Saturday into Sunday. I yearn for that spontaneity."

Although Enninful appears nostalgic, he is in good company. Recently, a longing look back of the 1990s has grown intense. Yet over the last thirty years, Enninful feels a significant change. "In my view, we’re less accepting now than we were in the 90s," he says. "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 narrow beauty standards. Where once there was the optimism of the late 90s, today a more divisive political personality appears as a potential leader. Even, the British flag, once an symbol of national pride, has returned as a polarising symbol.

In Enninful's view, the response has long been to promote culture in all its variety. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a broad spectrum of cultural icons from politics.

"People with a voice should use it," he says, discussing those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain hadn't been a lenient country, if it refused my family a home and an education. That’s the Britain I cherished. I believe this phase will fade."

Hope in the Next Generation

He finds hope in the next generation: "They’re much more aware than we were. They talk about implicit prejudice – I didn't even know what that was."

The beginnings of his career would forge a trailblazing career built on fearlessness and diversity. Enninful set a precedent as the first man, first Black editor, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His time featured landmark covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and individuals from varied communities. Importantly, sales increased.

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

Beyond the Magazine World

He has established his agency EE72 and its flagship publication, 72, his premier initiative since departing his previous role. He expresses a desire to continue being a "change-maker".

"My nature is to challenge the established norms. I was raised in a place where the majority was Black – the doctors, the lawyers, the president. Then we arrived in England, penniless, and I became the 'other'. I was painfully reserved. My teachers declared I’d never amount to anything. Me and my brothers were stopped by the police the suspicion laws … those experiences gave me a unique perspective both an insider and outsider."

Defying the popular image of fashion editors as brash and temperamental, Enninful is measured in tone and exudes calm. His life has included its share of adversity, including openly discussed periods of mental health and substance use.

He has also faced serious health challenges, having had multiple operations on his eyes, leading to impaired eyesight. "I was in such a difficult period for two years, not working, anxious I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I vowed, if this ever passes, I’m just going to pursue all that I was so afraid to do. I’m not going to limit myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This refusal to be typecast has led him outside the realm that built his career. He is now organising a major 1990s exhibition at Tate Britain, featuring work by a host of influential artists and photographers from the era. The show, he notes, aims to capture the decade's creative cross-pollination – and highlight those who did not receive due recognition at the time.

"Galleries sometimes neglected to promote the most relevant talents because they lacked the right pedigree," he states.

This venture itself operates on a unique business model, eschewing traditional advertising in favour of integrated partnerships. "The question is, what can we achieve in partnership? Is it an event, a series? The magazine is one component of a broader vision."

Looking Forward Without Fear

Currently, Enninful operates as one of the world's most respected creative power brokers. His path, he states, is a testament to the power of pursuing your passions.

What would the younger Edward think of the his current self? He smiles. "He would be astonished, but he’d be pleased. At that time I was anti-establishment. 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 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."