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

A chance encounter while riding the tube in 1988 transformed the path of a teenage Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the capital's buzzing 1990s creative scene, moving from model to stylist and, while still a teenager, becoming the style editor of the publication i-D.

"That time was the height of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I knew we’d be great friends. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I yearn for that rawness."

Although Enninful appears sentimental, he is far from alone. Recently, a fond idealisation of the 1990s has reached fever pitch. Yet over the last thirty years, Enninful feels a noticeable regression. "I feel, we’re more divided now than we were in the 90s," he observes. "The issue extends beyond this country – it’s everywhere."

A Perceived Regression

This shift is hard to ignore: the growth of nationalist groups, the reaction against social awareness, and the reassertion of narrow beauty standards. In place of the hope of the previous decade, today a different political personality looms as a potential leader. Furthermore, the Union Jack, once an badge of Cool Britannia, has sparked debate once more.

For Enninful, the solution has consistently 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 prominent faces from art.

"Individuals with a platform should use it," he says, explaining those editorial decisions. "People often debate about immigration; I would not be in this position if Britain were not a welcoming country, if it refused my family a refuge and an education. That’s the Britain I believed in. I hope this period will fade."

Hope in the Next Generation

He takes comfort in the next generation: "Their awareness is greater than we were. They discuss unconscious bias – I didn't even know what that was."

Those early experiences would define a trailblazing career characterised by fearlessness and inclusivity. Enninful broke barriers as the first male, first Black editor, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His tenure featured historic front pages showcasing models of colour, plus-sized women, an octogenarian, and people from varied communities. Significantly, sales rose.

"When you ignore vast segments of the population, it’s not just that you’re not being inclusive – it’s bad for business," he states.

Launching a Creative Venture

He has recently launched his creative company EE72 and its flagship publication, 72, his key endeavour 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 everybody was black – the doctors, the attorneys, the leader. Then we came to England, penniless, and I was a minority. I was incredibly timid. My teachers predicted I’d have no future. Me and my brothers were stopped by the police the suspicion laws … all that gave me a sense of being between worlds."

In contrast to the popular image of industry figures as loud and temperamental, Enninful is softly spoken and radiates serenity. His path has included its share of hardship, including publicly shared periods of mental health and substance use.

He has also faced significant health issues, having undergone several surgeries on his eyes, leading to limited vision. "I was in such a time of fear for two years, not working, anxious I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I prayed, if this ever passes, I’m just going to pursue all that I was so fearful to do. I’m not going to limit myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This determination to be typecast has propelled him beyond the realm that established him. He is now putting together a seminal 1990s exhibition at Tate Britain, bringing together work by a host of pivotal artists and photographers from the era. The show, he explains, aims to explore the decade's artistic collaboration – and give platform to those who did not receive a spotlight at the time.

"The establishment sometimes neglected to promote the right artists because they lacked the right pedigree," he comments.

This project itself functions with a different business model, eschewing traditional advertising in favour of partnership-based projects. "Our approach is, what can we achieve in partnership? Is it an experience, a series? The magazine is part of a greater ecosystem."

An Unstoppable Drive

Now, Enninful operates as one of the world's most influential industry leaders. His journey, he states, is a testament to the power of defying expectations.

How would the Enninful of that era react to the his current self? He smiles. "He’d be in shock, but he’d be proud. In those days I was anti-establishment. I never imagined institutions like Tate were within my reach."

He pauses. "Gratitude is key. We lost our home, we left our homeland. I nearly lost my vision. So fear isn't an option. People have counted me out my whole career. But no obstacle is too great once I’ve made up my mind to do something."