Edward Enninful on Modern Britain: 'A Decline in Tolerance' Compared to the Nineties.

A chance encounter during a tube journey in 1988 changed forever the trajectory of a teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the London's buzzing 1990s creative scene, evolving from model to stylist and, by the age of 18, becoming the fashion director of the publication i-D.

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

If Enninful sounds sentimental, he is in good company. In recent times, a fond idealisation of the 1990s has grown intense. Yet since that time, Enninful believes a significant change. "I believe, we’re more divided now than we were in the 90s," he observes. "It’s not even this country – it’s a global phenomenon."

A Perceived Regression

This shift is hard to ignore: the resurgence of populist movements, the backlash against social awareness, and the return of traditional beauty standards. Where once there was the hope of the previous decade, currently a different political force appears as a potential leader. Even, the British flag, once an emblem of cultural optimism, has returned as a polarising symbol.

According to Enninful, the response has always been to promote culture in all its diversity. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a broad spectrum of cultural icons from politics.

"People with a voice should use it," he says, referring to those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain was not a lenient country, if it did not offer my family a home and an education. That’s the Britain I believed in. I trust this period will pass."

The Younger Generation's Awareness

He draws solace in the youth of today: "They are far more conscious than we were. They discuss systemic issues – I had no concept what that was."

His formative years would forge a trailblazing career marked by fearlessness and inclusivity. Enninful broke barriers as the first male, first black man, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His time featured diverse covers showcasing models of colour, plus-sized women, an octogenarian, and individuals from varied communities. Importantly, sales grew.

"Ignoring 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 agency EE72 and its accompanying magazine, 72, his first major project since leaving his former post. He states his aim to continue being a "innovator".

"I’ve always questioned the status quo. I was born and raised in a place where Black professionals were the norm – the physicians, the lawyers, the president. Then we arrived in England, penniless, and I became the 'other'. I was very shy. My teachers said I’d achieve nothing. Me and my brothers were harassed under the Sus laws … this duality gave me a sense of being between worlds."

Defying the popular image of fashion editors as loud and highly strung, Enninful is calm and projects peace. His path has involved hardship, including well-documented periods of mental health and addiction.

He has also endured significant health challenges, having had multiple operations on his eyes, leading to impaired eyesight. "I experienced such a dark place for two years, away from work, anxious I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever ends, I’m just going to do everything that I was so fearful to do. I’m not going to limit myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This determination to be typecast has propelled him beyond the industry that made his name. He is now curating a significant 1990s exhibition at Tate Britain, bringing together work by a group of defining artists and photographers from the era. The show, he notes, aims to explore the decade's interdisciplinary energy – and spotlight those who lacked due recognition at the time.

"The establishment didn't always shine a light on the right artists because they weren't of the traditional credentials," he observes.

This project itself functions with a different strategy, rejecting traditional advertising in favour of partnership-based projects. "We ask, what can we achieve in partnership? Is it an event, a series? The magazine is part of a greater ecosystem."

Looking Forward Without Fear

Now, Enninful is regarded as one of the world's most respected industry leaders. His journey, he believes, is a proof to the power of pursuing your passions.

How would the younger Edward react to the man he has become? He chuckles. "It would be a surprise, but he’d be impressed. In those days I was a rebel. I didn't think institutions like Tate were a place for someone like me."

He adds. "Nothing is assumed. We were displaced, we fled our country. I nearly lost my vision. So fear is not a factor. People have underestimated me my whole career. But nothing can stop me once I’ve set my intention to do something."