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

An unexpected discovery during a tube journey in 1988 transformed the path of a teenage Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the London's electric 1990s creative scene, progressing from model to stylist and, before turning twenty, becoming the style editor of the iconic i-D.

"That time was the zenith of the Young British Artists – Jay Jopling, Tracey Emin. I encountered 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 rolled into Saturday into Sunday. I yearn for that spontaneity."

While Enninful may seem wistful, he is far from alone. Recently, a fond idealisation of the 1990s has reached fever pitch. However over the last thirty years, Enninful perceives a significant change. "In my view, 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 difficult to overlook: the growth of populist movements, the reaction against so-called "wokeness", and the return of Eurocentric beauty standards. Where once there was the hope of the previous decade, today a more divisive political personality appears as a possible leader. Even, the British flag, once an symbol of Cool Britannia, has returned as a polarising symbol.

According to Enninful, the antidote has long been to celebrate culture in all its diversity. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a wide range of prominent faces from literature.

"Those in a position of influence should use it," he asserts, discussing those publishing choices. "People often debate about immigration; I wouldn't be here if Britain hadn't been a open country, if it refused my family a refuge and an education. That’s the Britain I cherished. I hope this moment will end."

A New Wave of Consciousness

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

His formative years would forge a pioneering career marked by fearlessness and representation. Enninful made history as the first man, 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 people of diverse backgrounds, curvy models, an octogenarian, and people from varied communities. Significantly, sales rose.

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

Launching a Creative Venture

He has recently launched his creative company EE72 and its accompanying magazine, 72, his premier initiative since leaving his former post. He says he wants to continue being a "disruptor".

"I constantly interrogate the status quo. I was raised in a place where everybody was black – the doctors, the lawyers, the leader. Then we came to England, with nothing, and I found myself on the margins. I was very shy. My teachers said I’d never amount to anything. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a dual identity both an insider and outsider."

Defying the caricature of fashion editors as brash and temperamental, Enninful is softly spoken and exudes calm. His life has not been immune to challenges, including openly discussed periods of depression and addiction.

He has also endured significant health challenges, having had multiple operations on his eyes, resulting in partial sight. "I experienced such a time of fear for two years, not working, fearing I was going to go blind. It’s like PTSD; you just live in fear 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 restrict myself to just being an editor or a fashion person."

A Foray into Curation

This refusal to be defined narrowly has propelled him beyond the industry that built his career. He is now putting together a significant 1990s exhibition at Tate Britain, featuring work by a group of defining artists and photographers from the era. The show, he says, aims to explore the decade's creative cross-pollination – and give platform to those who weren't given due recognition at the time.

"The establishment didn't always shine a light on the truly innovative creators because they did not have the right pedigree," he observes.

This project itself functions with a unique business model, forgoing traditional advertising in favour of creative collaborations. "We ask, what can we create collaboratively? Is it an event, a series? The magazine is a piece within a broader vision."

An Unstoppable Drive

Now, Enninful stands as one of the world's most powerful industry leaders. His path, he feels, is a testament to the power of pursuing your passions.

How would the Edward of the 90s think of the his current self? He chuckles. "It would be a surprise, but he’d be impressed. At that time I was a rebel. I didn't think institutions like Tate were within my reach."

He reflects. "Nothing is assumed. We were displaced, we fled our country. I came close to losing my vision. So there is no room for fear. People have underestimated me my entire life. But I am unstoppable once I’ve made up my mind to do something."