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

A chance encounter while riding the tube in 1988 changed forever the path of a young Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the capital's electric 1990s artistic milieu, progressing from mannequin to stylist and, before turning twenty, becoming the style editor of the publication i-D.

"That time was the zenith of the Young British Artists – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I felt we’d be great friends. We all hung out across disciplines. Friday became Saturday into Sunday. I miss that rawness."

If Enninful sounds sentimental, he is in good company. In recent times, a wistful romanticisation of the 1990s has grown intense. But in the intervening decades, Enninful feels a noticeable regression. "In my view, we’re less accepting now than we were in the 90s," he observes. "The issue extends beyond this country – it’s a global phenomenon."

A Cultural Backslide

This shift is difficult to overlook: the growth of nationalist groups, the reaction against progressive values, and the return of narrow beauty standards. In place of the optimism of the Blair era, currently a more divisive political personality looms as a potential leader. Even, the Union Jack, once an symbol of Cool Britannia, has become contentious again.

According to Enninful, the antidote has always been to champion culture in all its variety. 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 diverse array of prominent faces from politics.

"Individuals with a platform should employ it," he asserts, explaining those publishing choices. "People often debate about immigration; I could not have had this life if Britain was not a open country, if it refused my family a refuge and an education. That’s the Britain I cherished. I hope this period will fade."

Hope in the Next Generation

He takes comfort in the next generation: "They’re much more aware than we were. They talk about unconscious bias – I didn't even know what that was."

His formative years would shape a groundbreaking career marked by fearlessness and representation. Enninful made history as the first male, first black man, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His tenure featured diverse covers showcasing people of diverse backgrounds, curvy models, an octogenarian, and individuals from varied communities. Significantly, sales rose.

"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 since founded his new venture EE72 and its accompanying magazine, 72, his first major project since moving on from his former post. He expresses a desire to continue being a "change-maker".

"My nature is to challenge the status quo. I was born and raised in a place where the majority was Black – the physicians, the attorneys, the president. Then we arrived in England, with nothing, and I was a minority. I was painfully reserved. My teachers predicted I’d have no future. Me and my brothers were harassed under the Sus laws … those experiences gave me a unique perspective on the inside and the outside."

In contrast to the stereotype of industry figures as loud and temperamental, Enninful is softly spoken and radiates serenity. His journey has not been immune to challenges, including publicly shared battles with depression and substance use.

He has also faced serious health issues, having undergone several surgeries on his eyes, leading to impaired eyesight. "I endured such a time of fear 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 passes, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to confine myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This determination to be defined narrowly has inspired him beyond the realm that established him. He is now curating a seminal 1990s exhibition at Tate Britain, showcasing work by a roster of pivotal artists and photographers from the era. The show, he explains, aims to capture the decade's interdisciplinary energy – and give platform to those who lacked adequate attention at the time.

"Institutions didn't always shine a light on the right artists because they did not have the traditional credentials," he states.

The magazine 72 itself functions with a novel business model, eschewing traditional advertising in favour of integrated partnerships. "The question is, what can we achieve in partnership? Is it an event, a series? The magazine is part of a greater ecosystem."

Looking Forward Without Fear

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

How would the younger Edward think of the Edward of today? He smiles. "He’d be in shock, but he’d be impressed. Back then I was a rebel. I would not have believed institutions like Tate were a place for someone like me."

He pauses. "I never take anything for granted. We were displaced, we left our homeland. I nearly lost my vision. So fear isn't an option. People have counted me out my entire life. But I am unstoppable once I’ve set my intention to do something."