Edward Enninful on Modern Britain: 'We Are Less Tolerant Now' Than in the 90s.

A serendipitous meeting while riding the tube 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 electric 1990s artistic milieu, evolving from model to stylist and, while still a teenager, becoming the fashion director of i-D magazine.

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

Although Enninful appears nostalgic, he is not the only one. Lately, a wistful romanticisation of the 1990s has become pervasive. Yet in the intervening decades, Enninful perceives a significant change. "I feel, we’re less tolerant now than we were in the 90s," he remarks. "It’s not even this country – it’s everywhere."

Shifting Attitudes

This change is difficult to overlook: the rise of populist movements, the pushback against so-called "wokeness", and the reinforcement of Eurocentric beauty standards. In place of the hope of the previous decade, currently a more divisive political figure looms as a potential leader. Furthermore, the Union Jack, once an symbol of national pride, has returned as a polarising symbol.

According to Enninful, the response has consistently been to celebrate culture in all its diversity. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a broad spectrum of prominent faces from literature.

"People with a voice should wield it," he asserts, discussing those publishing choices. "There is much discussion about immigration; I wouldn't be here if Britain was not a lenient country, if it refused my family a refuge and an education. That’s the Britain I believed in. I trust this moment will fade."

Hope in the Next Generation

He takes comfort in the younger generation: "Their awareness is greater than we were. They analyse implicit prejudice – I had no concept what that was."

The beginnings of his career would forge a pioneering career marked by fearlessness and representation. Enninful made history as the first male, first Black editor, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His tenure featured landmark covers showcasing Black models, plus-sized women, an octogenarian, and individuals from all walks of life. Importantly, sales increased.

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

Launching a Creative Venture

He has recently launched his new venture EE72 and its accompanying magazine, 72, his key endeavour since departing his previous role. He says he wants to continue being a "disruptor".

"I constantly interrogate the conventional wisdom. I was raised in a place where the majority was Black – the physicians, the lawyers, the president. Then we came to England, without funds, and I was a minority. I was painfully reserved. My teachers declared I’d never amount to anything. Me and my brothers were harassed under the suspicion laws … those experiences gave me a unique perspective on the inside and the outside."

Contrary to the caricature of industry figures as loud and temperamental, Enninful is calm and radiates serenity. His path has not been immune to adversity, including well-documented battles with mental health and substance use.

He has also undergone serious health issues, having undergone several surgeries on his eyes, leading to impaired eyesight. "I experienced such a time of fear for two years, not working, fearing I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I thought, if this ever is over, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to limit myself to just being an editor or a fashion person."

A Foray into Curation

This drive to be typecast has led him away from the realm that built his career. He is now organising a seminal 1990s exhibition at Tate Britain, featuring work by a group of pivotal artists and photographers from the era. The show, he notes, aims to explore the decade's creative cross-pollination – and spotlight those who weren't given a spotlight at the time.

"Institutions didn't always celebrate the most relevant talents because they did not have the right pedigree," he states.

This project itself functions with a novel business model, forgoing traditional advertising in favour of creative collaborations. "We ask, what can we achieve in partnership? Is it an experience, a podcast? The magazine is part of a broader vision."

A Testament to Resilience

Now, Enninful operates as one of the world's most powerful cultural influencers. His journey, he feels, is a demonstration to the power of defying expectations.

How would the Enninful of that era think of the Edward of today? He smiles. "He would be astonished, but he’d be impressed. Back then I was sceptical of institutions. I would not have believed institutions like Tate were necessarily for me."

He adds. "I never take anything for granted. We were displaced, we left our homeland. 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 made up my mind to do something."