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

A serendipitous meeting during a tube journey in 1988 changed forever the trajectory of a teenage Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the capital's buzzing 1990s artistic milieu, evolving from mannequin to stylist and, before turning twenty, becoming the style editor of the publication i-D.

"That time was the peak of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I knew we’d be close. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I long for that rawness."

Although Enninful appears wistful, he is not the only one. Lately, a fond idealisation of the 1990s has reached fever pitch. But since that time, Enninful feels a noticeable regression. "I feel, we’re less tolerant now than we were in the 90s," he observes. "The issue extends beyond this country – it’s worldwide."

A Cultural Backslide

This regression is difficult to overlook: the growth of populist movements, the backlash against progressive values, and the reassertion of narrow beauty standards. In place of the hope of the Blair era, now a more divisive political personality appears as a potential leader. Furthermore, the British flag, once an symbol of national pride, has sparked debate once more.

According to Enninful, the antidote has always been to champion 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, including a diverse array of influential figures from art.

"Those in a position of influence should employ it," he asserts, 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 refused my family a home and an education. That’s the Britain I cherished. I trust this period will end."

The Younger Generation's Awareness

He draws solace in the next generation: "They’re much more aware than we were. They analyse systemic issues – I had no concept what that was."

His formative years would define a groundbreaking career marked by fearlessness and inclusivity. Enninful set a precedent as the first male, first black man, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His tenure featured historic front pages showcasing people of diverse backgrounds, curvy models, older individuals, and individuals from varied communities. Importantly, sales increased.

"Ignoring large portions of the population, it’s not just that you’re excluding people – it’s commercially unwise," he states.

A New Chapter as a 'Disruptor'

He has since founded his new venture EE72 and its flagship publication, 72, his first major project since departing his former post. He expresses a desire 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 came to England, without funds, and I became the 'other'. I was incredibly timid. My teachers predicted I’d have no future. Me and my brothers were stopped by the police the Sus laws … this duality gave me a dual identity both an insider and outsider."

Contrary to the stereotype of fashion editors as brash and highly strung, Enninful is measured in tone and exudes calm. His journey has involved hardship, including well-documented periods of depression and addiction.

He has also undergone significant health challenges, having undergone several surgeries on his eyes, now leaving him with 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 thought, 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 fashion person."

Curating a Cultural Era

This drive to fit into a box has led him beyond the industry that established him. He is now putting together a major 1990s exhibition at Tate Britain, showcasing work by a host of defining artists and photographers from the era. The show, he explains, aims to explore the decade's creative cross-pollination – and give platform to those who weren't given due recognition at the time.

"Galleries often failed to promote the truly innovative creators because they weren't of the expected background," he states.

This venture itself operates on a different approach, rejecting traditional advertising in favour of integrated partnerships. "Our approach is, what can we achieve in partnership? Is it an experience, a podcast? The magazine is part of a broader vision."

Looking Forward Without Fear

Today, Enninful is regarded as one of the world's most powerful creative power brokers. His journey, he believes, is a demonstration to the power of following your instincts.

What would the Edward of the 90s react to the Edward of today? He chuckles. "He’d be in shock, but he’d be pleased. In those days I was sceptical of institutions. I never imagined institutions like Tate were within my reach."

He reflects. "Nothing is assumed. We fled, we left our homeland. I almost lost my vision. So there is no room for fear. People have counted me out my entire life. But no obstacle is too great once I’ve made up my mind to do something."