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

An unexpected discovery during a tube journey in 1988 changed forever the course of a teenage Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the capital's electric 1990s creative scene, moving from model to stylist and, before turning twenty, becoming the style editor of the publication i-D.

"That time was the height 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 understood we’d be close. We all socialised across disciplines. Friday became Saturday into Sunday. I yearn for that rawness."

If Enninful sounds sentimental, he is in good company. Recently, a fond idealisation of the 1990s has become pervasive. However in the intervening decades, Enninful perceives a noticeable regression. "I believe, we’re more divided now than we were in the 90s," he remarks. "It’s not even this country – it’s a global phenomenon."

Shifting Attitudes

This shift is difficult to overlook: the rise of populist movements, the reaction against so-called "wokeness", and the reassertion of Eurocentric beauty standards. Replacing the optimism of the late 90s, now a different political figure looms as a potential leader. Even, the British flag, once an symbol of cultural optimism, has returned as a polarising symbol.

For Enninful, the solution has consistently been to champion culture in all its multifaceted forms. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a wide range of cultural icons from art.

"People with a voice should wield it," he asserts, explaining those editorial decisions. "There is much discussion about immigration; I could not have had this life if Britain were not a open country, if it refused my family a home and an opportunity. That’s the Britain I cherished. I hope this period will pass."

The Younger Generation's Awareness

He finds hope in the younger generation: "Their awareness is greater than we were. They analyse implicit prejudice – I was not even aware what that was."

The beginnings of his career would forge a trailblazing career characterised by boldness and diversity. Enninful made history as the first male, first Black editor, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His tenure featured landmark covers showcasing Black models, curvy models, older individuals, and people from varied communities. Importantly, sales increased.

"To overlook vast segments of the population, it’s more than that you’re excluding people – it’s bad for business," he explains.

Beyond the Magazine World

He has established his creative company EE72 and its accompanying magazine, 72, his premier initiative since leaving his previous role. He says he wants to continue being a "disruptor".

"I constantly interrogate the conventional wisdom. I was brought up in a place where everybody was black – the physicians, the lawyers, the president. Then we came to England, penniless, and I was a minority. I was painfully reserved. My teachers predicted I’d achieve nothing. Me and my brothers were subject to police stops the Sus laws … this duality gave me a sense of being both an insider and outsider."

Defying the popular image of fashion editors as brash and highly strung, Enninful is calm and exudes calm. His life has included its share of hardship, including openly discussed periods of mental health and addiction.

He has also undergone serious health challenges, having had multiple operations on his eyes, now leaving him with impaired eyesight. "I was in such a difficult period for two years, away from work, anxious I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I prayed, if this ever is over, I’m just going to embrace every opportunity 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 fit into a box has propelled him beyond the realm that made his name. He is now organising a seminal 1990s exhibition at Tate Britain, featuring work by a group of defining artists and photographers from the era. The show, he explains, aims to capture the decade's creative cross-pollination – and highlight those who lacked due recognition at the time.

"Galleries often failed to shine a light on the truly innovative creators because they lacked the traditional credentials," he comments.

The magazine 72 itself functions with a unique strategy, forgoing traditional advertising in favour of partnership-based projects. "The question is, what can we create collaboratively? Is it an experience, a podcast? The magazine is part of a broader vision."

Looking Forward Without Fear

Currently, Enninful stands as one of the world's most respected creative power brokers. His journey, he states, is a proof to the power of following your instincts.

How would the Edward of the 90s react to the his current self? He chuckles. "It would be a surprise, but he’d be proud. At that time I was a rebel. I didn't think institutions like Tate were within my reach."

He reflects. "Nothing is assumed. We fled, we fled our country. I came close to losing my vision. So fear is not a factor. People have underestimated me my entire life. But nothing can stop me once I’ve decided to do something."