Edward Enninful on Modern Britain: 'A Decline in Tolerance' Than in the 90s.

A serendipitous meeting during a tube journey in 1988 altered the course of a young Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the city's vibrant 1990s creative scene, progressing from model to stylist and, while still a teenager, becoming the style editor of the iconic i-D.

"That time was the peak of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I felt we’d be great friends. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I miss that energy."

Although Enninful appears sentimental, he is in good company. Lately, a wistful romanticisation of the 1990s has become pervasive. Yet in the intervening decades, Enninful believes a significant change. "In my view, we’re more divided now than we were in the 90s," he says. "It’s not even this country – it’s worldwide."

A Perceived Regression

This change is difficult to overlook: the resurgence of far-right politics, the pushback against progressive values, and the reinforcement of narrow beauty standards. Replacing the hope of the Blair era, currently a more divisive political personality stands as a possible leader. Furthermore, the Union Jack, once an badge of cultural optimism, has become contentious again.

For Enninful, the response has always been to celebrate 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 snapshot of modern Britain, including a wide range of influential figures from politics.

"Those in a position of influence should employ it," he says, explaining those editorial decisions. "People often debate about immigration; I wouldn't be here if Britain was not a welcoming country, if it hadn't given my family a home and an education. That’s the Britain I cherished. I hope this phase will end."

Hope in the Next Generation

He draws solace in the next generation: "Their awareness is greater than we were. They talk about implicit prejudice – I didn't even know what that was."

The beginnings of his career would define a groundbreaking career characterised by fearlessness and representation. Enninful broke barriers as the first male, first black man, first gay man, and first disabled gay man of colour to lead at British Vogue. His leadership featured diverse covers showcasing Black models, plus-sized women, an octogenarian, and people from varied communities. Critically, sales increased.

"To overlook huge sections of the population, it’s not just that you’re not being inclusive – it’s bad for business," he explains.

Beyond the Magazine World

He has since founded his creative company EE72 and its accompanying magazine, 72, his first major project since departing his previous role. He states his aim to continue being a "change-maker".

"I’ve always questioned the conventional wisdom. I was born and raised in a place where Black professionals were the norm – the doctors, the lawyers, the leader. Then we arrived in England, with nothing, and I found myself on the margins. I was incredibly timid. My teachers declared I’d have no future. Me and my brothers were subject to police stops the suspicion laws … all that gave me a unique perspective both an insider and outsider."

Contrary to the stereotype of fashion editors as loud and temperamental, Enninful is measured in tone and radiates serenity. His journey has not been immune to hardship, including openly discussed battles with mental health and addiction.

He has also undergone serious health issues, having had multiple operations on his eyes, leading to partial sight. "I experienced such a time of fear for two years, not working, fearing I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I vowed, if this ever passes, I’m just going to do everything that I was so fearful to do. I’m not going to confine myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This drive to be defined narrowly has led him away from the world that established him. He is now curating a significant 1990s exhibition at Tate Britain, showcasing work by a roster of defining artists and photographers from the era. The show, he explains, aims to evoke the decade's creative cross-pollination – and spotlight those who lacked due recognition at the time.

"Institutions often failed to shine a light on the most relevant talents because they did not have the expected background," he comments.

The magazine 72 itself functions with a novel business model, rejecting traditional advertising in favour of partnership-based projects. "The question is, what can we achieve in partnership? Is it an event, a podcast? The magazine is part of a greater ecosystem."

An Unstoppable Drive

Today, Enninful operates as one of the world's most influential industry leaders. His path, he believes, is a demonstration to the power of pursuing your passions.

How would the Enninful of that era think of the Edward of today? He laughs heartily. "He’d be in shock, but he’d be impressed. In those days I was sceptical of institutions. I never imagined institutions like Tate were necessarily for me."

He pauses. "I never take anything for granted. We fled, we fled our country. I came close to losing my vision. So there is no room for fear. People have doubted me my entire life. But no obstacle is too great once I’ve decided to do something."