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

A chance encounter during a tube journey in 1988 changed forever the path of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the London's electric 1990s artistic milieu, progressing from mannequin to stylist and, by the age of 18, becoming the style editor of i-D magazine.

"That era was the height of the Young British Artists – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I understood we’d be great friends. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I long for that spontaneity."

While Enninful may seem sentimental, he is far from alone. In recent times, a wistful romanticisation of the 1990s has reached fever pitch. Yet in the intervening decades, Enninful feels a significant change. "In my view, we’re less accepting now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s a global phenomenon."

A Cultural Backslide

This regression is increasingly evident: the growth of populist movements, the backlash against progressive values, and the return of traditional beauty standards. Replacing the optimism of the previous decade, today a different political personality appears as a possible leader. Furthermore, the Union Jack, once an emblem of national pride, has sparked debate once more.

For Enninful, the solution has always been to promote culture in all its multifaceted forms. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a diverse array of influential figures from politics.

"Those in a position of influence should wield it," he asserts, referring to those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain were not a welcoming country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I believed in. I believe this phase will end."

The Younger Generation's Awareness

He takes comfort in the younger generation: "Their awareness is greater than we were. They analyse implicit prejudice – I didn't even know what that was."

Those early experiences would define a groundbreaking career characterised by boldness and diversity. Enninful set a precedent as the first male, first black man, first gay man, and first disabled Black gay man to take the helm at British Vogue. His leadership featured historic front pages showcasing people of diverse backgrounds, curvy models, older individuals, and individuals from all walks of life. Significantly, sales grew.

"To overlook vast segments of the population, it’s more than that you’re excluding people – it’s a poor strategy," he explains.

Launching a Creative Venture

He has since founded his agency EE72 and its accompanying magazine, 72, his premier initiative since departing his former post. He says he wants to continue being a "change-maker".

"I constantly interrogate the conventional wisdom. I was brought up in a place where everybody was black – the physicians, the attorneys, the leader. Then we came to England, with nothing, and I was a minority. I was very shy. My teachers predicted I’d have no future. Me and my brothers were harassed under the Sus laws … those experiences gave me a sense of being both an insider and outsider."

In contrast to the caricature of fashion editors as loud and temperamental, Enninful is measured in tone and exudes calm. His life has included its share of hardship, including openly discussed battles with mental health and addiction.

He has also undergone serious health challenges, having had multiple operations on his eyes, now leaving him with partial sight. "I was in such a time of fear for two years, not working, anxious I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I thought, if this ever passes, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to restrict myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This drive to be typecast has led him outside the world that built his career. He is now curating a seminal 1990s exhibition at Tate Britain, featuring work by a host of influential artists and photographers from the era. The show, he explains, aims to explore the decade's interdisciplinary energy – and highlight those who did not receive adequate attention at the time.

"Institutions didn't always promote the truly innovative creators because they did not have the traditional credentials," he observes.

This venture itself operates on a unique approach, eschewing traditional advertising in favour of integrated partnerships. "We ask, what can we achieve in partnership? Is it an experience, a podcast? The magazine is a piece within a broader vision."

An Unstoppable Drive

Now, Enninful operates as one of the world's most influential creative power brokers. His journey, he states, is a testament to the power of following your instincts.

How would the Enninful of that era make of the his current self? He chuckles. "It would be a surprise, but he’d be pleased. Back then I was anti-establishment. I would not have believed institutions like Tate were a place for someone like me."

He adds. "Gratitude is key. We fled, we fled our country. I almost lost my vision. So fear isn't an option. People have underestimated me my whole career. But nothing can stop me once I’ve set my intention to do something."