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

A chance encounter on the London Underground in 1988 changed forever the trajectory of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the capital's electric 1990s artistic milieu, progressing from mannequin to stylist and, before turning twenty, becoming the style editor of the publication i-D.

"That time was the zenith of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I understood we’d be kindred spirits. We all hung out across disciplines. Friday became Saturday into Sunday. I yearn for that spontaneity."

Although Enninful appears sentimental, he is in good company. Lately, a longing look back of the 1990s has become pervasive. Yet since that time, Enninful believes a profound shift. "In my view, we’re less accepting now than we were in the 90s," he observes. "This isn't just this country – it’s everywhere."

Shifting Attitudes

This regression is difficult to overlook: the resurgence of far-right politics, the reaction against so-called "wokeness", and the reassertion of traditional beauty standards. Where once there was the hope of the previous decade, currently a different political figure looms as a potential leader. Even, the Union Jack, once an emblem of Cool Britannia, has sparked debate once more.

For Enninful, the response has always been to celebrate culture in all its multifaceted forms. 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 influential figures from literature.

"Individuals with a platform should wield it," he asserts, explaining those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain were not a open country, if it refused my family a home and an opportunity. That’s the Britain I always loved. I hope this period will pass."

Hope in the Next Generation

He finds hope in the younger generation: "Their awareness is greater than we were. They discuss systemic issues – I didn't even know what that was."

Those early experiences would forge a pioneering career marked by boldness and representation. Enninful set a precedent as the first man, first black man, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His time featured landmark covers showcasing models of colour, curvy models, an octogenarian, and people from varied communities. Critically, sales grew.

"To overlook large portions of the population, it’s not just that you’re excluding people – it’s a poor strategy," he emphasises.

Launching a Creative Venture

He has since founded his new venture EE72 and its flagship publication, 72, his first major project since leaving his previous role. He expresses a desire to continue being a "disruptor".

"I’ve always questioned the conventional wisdom. I was raised in a place where the majority was Black – the physicians, the attorneys, the president. Then we arrived in England, without funds, and I became the 'other'. I was painfully reserved. My teachers declared I’d achieve nothing. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a unique perspective both an insider and outsider."

Contrary to the stereotype of fashion editors as brash and highly strung, Enninful is softly spoken and exudes calm. His life has involved challenges, including openly discussed battles with depression and substance use.

He has also faced significant health issues, having had multiple operations on his eyes, leading to partial sight. "I endured such a dark place for two years, away from work, anxious I was going to lose my sight. It’s comparable to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever passes, I’m just going to pursue all that I was so scared to do. I’m not going to limit myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This drive to fit into a box has propelled him away from the realm that made his name. He is now curating a major 1990s exhibition at Tate Britain, bringing together work by a roster of pivotal artists and photographers from the era. The show, he notes, aims to explore the decade's artistic collaboration – and give platform to those who lacked a spotlight at the time.

"Galleries didn't always promote the right artists because they did not have the expected background," he states.

This project itself operates on a novel approach, forgoing traditional advertising in favour of creative collaborations. "Our approach is, what can we create collaboratively? Is it an event, a podcast? The magazine is a piece within a larger creative platform."

An Unstoppable Drive

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

What would the Enninful of that era think of the man he has become? He laughs heartily. "He’d be in shock, but he’d be impressed. Back then I was anti-establishment. I didn't think institutions like Tate were within my reach."

He adds. "Gratitude is key. We fled, we left our homeland. I nearly lost my vision. So fear isn't an option. People have doubted me my entire life. But no obstacle is too great once I’ve decided to do something."