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

A chance encounter on the London Underground in 1988 transformed the course of a teenage Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the London's vibrant 1990s creative scene, moving from model to stylist and, before turning twenty, becoming the style editor of the publication i-D.

"It was the height of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I understood we’d be kindred spirits. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I yearn for that rawness."

While Enninful may seem nostalgic, he is not the only one. Lately, a longing look back of the 1990s has grown intense. However over the last thirty years, Enninful perceives a profound shift. "I feel, we’re more divided now than we were in the 90s," he remarks. "It’s not even this country – it’s worldwide."

A Perceived Regression

This regression is difficult to overlook: the rise of far-right politics, the pushback against social awareness, and the reinforcement of Eurocentric beauty standards. Where once there was the optimism of the Blair era, now a different political force stands as a potential leader. Even, the British flag, once an emblem of national pride, has become contentious again.

For Enninful, the response has long been to promote culture in all its diversity. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a diverse array of cultural icons from art.

"People with a voice should use it," he asserts, discussing those publishing choices. "People often debate about immigration; I would not be in this position if Britain hadn't been a lenient country, if it hadn't given my family a refuge and an education. That’s the Britain I always loved. I believe this phase will end."

A New Wave of Consciousness

He takes comfort in the youth of today: "They are far more conscious than we were. They discuss implicit prejudice – I was not even aware what that was."

His formative years would shape a pioneering career characterised by fearlessness and representation. Enninful set a precedent as the first man, first black man, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His time featured diverse covers showcasing people of diverse backgrounds, curvy models, older individuals, and individuals from all walks of life. Significantly, sales grew.

"To overlook huge sections of the population, it’s more than that you’re failing to represent – it’s a poor strategy," he emphasises.

A New Chapter as a 'Disruptor'

He has since founded his agency EE72 and its flagship publication, 72, his first major project since departing his previous role. He says he wants to continue being a "change-maker".

"My nature is to challenge 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 came to England, without funds, and I found myself on the margins. I was very shy. My teachers said I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … all that gave me a sense of being on the inside and the outside."

Defying the popular image of industry figures as loud and highly strung, Enninful is calm and projects peace. His path has involved adversity, including openly discussed battles with depression and substance use.

He has also faced significant health issues, having undergone several surgeries on his eyes, leading to impaired eyesight. "I endured such a dark place for two years, away from work, terrified 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 ends, 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."

A Foray into Curation

This refusal to be typecast has inspired him outside the world that established him. He is now curating a major 1990s exhibition at Tate Britain, bringing together work by a host of pivotal artists and photographers from the era. The show, he notes, aims to evoke the decade's artistic collaboration – and highlight those who lacked a spotlight at the time.

"Institutions didn't always promote the right artists because they weren't of the traditional credentials," he comments.

This project itself operates on a novel strategy, forgoing traditional advertising in favour of partnership-based projects. "We ask, what can we achieve in partnership? Is it an experience, a podcast? The magazine is one component of a broader vision."

A Testament to Resilience

Today, Enninful stands as one of the world's most influential creative power brokers. His story, he states, is a testament to the power of following your instincts.

What would the Enninful of that era react to the his current self? He chuckles. "It would be a surprise, but he’d be impressed. At that time I was anti-establishment. I never imagined institutions like Tate were within my reach."

He pauses. "Gratitude is key. We fled, we left our homeland. I came close to losing my vision. So fear is not a factor. People have doubted me my whole career. But nothing can stop me once I’ve made up my mind to do something."