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

A serendipitous meeting on the London Underground in 1988 altered the course of a young Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the city's electric 1990s artistic milieu, moving from model to stylist and, before turning twenty, becoming the fashion director of the publication i-D.

"It was the peak of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I felt we’d be great friends. We all hung out across disciplines. Friday became Saturday into Sunday. I miss that spontaneity."

Although Enninful appears sentimental, he is far from alone. In recent times, a longing look back of the 1990s has become pervasive. But in the intervening decades, Enninful perceives a significant change. "In my view, we’re less tolerant now than we were in the 90s," he observes. "The issue extends beyond this country – it’s worldwide."

Shifting Attitudes

This shift is difficult to overlook: the growth of far-right politics, the reaction against social awareness, and the reassertion of traditional beauty standards. Replacing the hope of the late 90s, today a more divisive political figure looms as a possible leader. Furthermore, the British flag, once an emblem of national pride, has returned as a polarising symbol.

According to Enninful, the antidote has always been to promote culture in all its diversity. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a wide range of cultural icons from politics.

"Those in a position of influence should wield it," he comments, discussing those publishing choices. "People often debate about immigration; I could not have had this life if Britain was not a lenient country, if it refused my family a refuge and an education. That’s the Britain I always loved. I believe this phase will pass."

Hope in the Next Generation

He takes comfort in the youth of today: "Their awareness is greater than we were. They talk about unconscious bias – I didn't even know what that was."

The beginnings of his career would shape a groundbreaking career built on fearlessness and diversity. Enninful broke barriers as the first male, first black man, first gay man, and first disabled Black gay man to take the helm at British Vogue. His leadership featured diverse covers showcasing models of colour, plus-sized women, older individuals, and people from varied communities. Significantly, sales increased.

"When you ignore huge sections of the population, it’s not just that you’re not being inclusive – it’s commercially unwise," 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 former post. He says he wants to continue being a "disruptor".

"I’ve always questioned the status quo. I was born and raised in a place where everybody was black – the doctors, the lawyers, the leader. Then we arrived in England, with nothing, and I found myself on the margins. I was incredibly timid. My teachers said I’d never amount to anything. Me and my brothers were harassed under the Sus laws … those experiences gave me a unique perspective between worlds."

Contrary to the caricature of fashion editors as brash and highly strung, Enninful is measured in tone and radiates serenity. His life has involved challenges, including openly discussed periods of depression 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, away from work, 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 ends, 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."

The Tate Britain Exhibition

This determination to be typecast has led him away from the realm that made his name. He is now putting together a major 1990s exhibition at Tate Britain, featuring work by a host of pivotal artists and photographers from the era. The show, he explains, aims to capture the decade's creative cross-pollination – and highlight those who did not receive adequate attention at the time.

"Institutions sometimes neglected to promote the right artists because they lacked the right pedigree," he states.

The magazine 72 itself operates on a different business model, rejecting traditional advertising in favour of partnership-based projects. "Our approach is, what can we create collaboratively? Is it an experience, a podcast? The magazine is a piece within a larger creative platform."

Looking Forward Without Fear

Now, Enninful operates as one of the world's most influential industry leaders. His story, he feels, is a demonstration to the power of defying expectations.

What would the Edward of the 90s think of the man he has become? He smiles. "He would be astonished, but he’d be pleased. In those days I was a rebel. I didn't think institutions like Tate were within my reach."

He pauses. "Nothing is assumed. We fled, we fled our country. I almost lost my vision. So fear is not a factor. People have doubted me my entire life. But no obstacle is too great once I’ve made up my mind to do something."