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

A chance encounter during a tube journey in 1988 transformed the trajectory of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the capital's vibrant 1990s creative scene, moving from model to stylist and, before turning twenty, becoming the fashion director of the iconic i-D.

"That era was the zenith of the Young British Artists – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I knew we’d be great friends. We all hung out across disciplines. Friday bled into Saturday into Sunday. I yearn for that energy."

Although Enninful appears wistful, he is in good company. Recently, a wistful romanticisation of the 1990s has grown intense. But in the intervening decades, Enninful believes a noticeable regression. "I believe, we’re more divided now than we were in the 90s," he observes. "The issue extends beyond this country – it’s everywhere."

A Perceived Regression

This regression is increasingly evident: the growth of far-right politics, the reaction against progressive values, and the reinforcement of traditional beauty standards. Replacing the optimism of the Blair era, today a more divisive political personality appears as a possible leader. Furthermore, the Union Jack, once an badge of cultural optimism, has become contentious again.

In Enninful's view, the solution has consistently been to promote culture in all its variety. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a diverse array of influential figures from literature.

"People with a voice should employ it," he comments, explaining those publishing choices. "Everyone talks about immigration; I would not be in this position if Britain hadn't been a welcoming country, if it did not offer my family a home and an opportunity. That’s the Britain I cherished. I believe this phase will pass."

The Younger Generation's Awareness

He finds hope in the youth of today: "They’re much more aware than we were. They discuss implicit prejudice – I had no concept what that was."

Those early experiences would forge a trailblazing career marked by fearlessness and representation. Enninful made history as the first man, first black man, first gay man, and first disabled Black gay man to take the helm at British Vogue. His time featured landmark covers showcasing models of colour, curvy models, an octogenarian, and people from all walks of life. Significantly, sales grew.

"To overlook large portions of the population, it’s not just that you’re excluding people – it’s bad for business," he states.

A New Chapter as a 'Disruptor'

He has established his agency EE72 and its flagship publication, 72, his key endeavour since leaving his former post. 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 everybody was black – the doctors, the attorneys, the leader. Then we arrived in England, penniless, and I became the 'other'. I was incredibly timid. My teachers declared I’d never amount to anything. Me and my brothers were subject to police stops the suspicion laws … all that gave me a dual identity both an insider and outsider."

Defying the popular image of industry figures as loud and temperamental, Enninful is calm and radiates serenity. His path has not been immune to adversity, including well-documented periods of mental health and addiction.

He has also undergone serious health challenges, having had multiple operations on his eyes, resulting in limited vision. "I was in such a dark place 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 is over, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to restrict myself to just being an editor or a fashion person."

Curating a Cultural Era

This determination to be defined narrowly has led him outside the realm that established him. He is now organising a significant 1990s exhibition at Tate Britain, showcasing work by a host of influential artists and photographers from the era. The show, he says, aims to evoke the decade's creative cross-pollination – and highlight those who weren't given adequate attention at the time.

"Institutions didn't always celebrate the most relevant talents because they did not have the traditional credentials," he observes.

This venture itself operates on a unique strategy, rejecting traditional advertising in favour of integrated partnerships. "We ask, what can we do together? Is it an experience, a podcast? The magazine is one component of a broader vision."

Looking Forward Without Fear

Today, Enninful is regarded as one of the world's most respected creative power brokers. His story, he states, is a demonstration to the power of defying expectations.

How would the younger Edward react to the his current self? He smiles. "It would be a surprise, but he’d be impressed. At that time I was a rebel. I never imagined institutions like Tate were within my reach."

He pauses. "Gratitude is key. We lost our home, we fled our country. I nearly lost my vision. So fear isn't an option. People have underestimated me my whole career. But I am unstoppable once I’ve made up my mind to do something."