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

A serendipitous meeting on the London Underground in 1988 transformed the trajectory of a young Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the capital's vibrant 1990s artistic milieu, moving from model to stylist and, by the age of 18, becoming the fashion director of the iconic i-D.

"That era was the zenith of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I understood we’d be great friends. We all socialised across disciplines. Friday became Saturday into Sunday. I long for that spontaneity."

While Enninful may seem wistful, he is in good company. In recent times, a wistful romanticisation of the 1990s has grown intense. However over the last thirty years, Enninful perceives a profound shift. "I believe, we’re more divided now than we were in the 90s," he says. "The issue extends beyond this country – it’s a global phenomenon."

A Cultural Backslide

This regression is hard to ignore: the growth of populist movements, the reaction against progressive values, and the reassertion of narrow beauty standards. Where once there was the hope of the Blair era, currently a more divisive political force appears as a potential leader. Even, the Union Jack, once an symbol of Cool Britannia, has sparked debate once more.

According to Enninful, the solution has consistently been to celebrate culture in all its variety. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a wide range of prominent faces from politics.

"Individuals with a platform should employ it," he comments, explaining those editorial decisions. "People often debate about immigration; I would not be in this position if Britain hadn't been a welcoming country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I cherished. I hope this moment will fade."

Hope in the Next Generation

He finds hope in the next generation: "They are far more conscious than we were. They analyse implicit prejudice – I was not even aware what that was."

His formative years would forge a groundbreaking career built on boldness and diversity. Enninful set a precedent as the first male, first black man, first gay man, and first disabled gay man of colour to lead at British Vogue. His time featured landmark covers showcasing Black models, curvy models, an octogenarian, and individuals from varied communities. Importantly, sales rose.

"To overlook vast segments of the population, it’s not just that you’re not being inclusive – it’s commercially unwise," he emphasises.

A New Chapter as a 'Disruptor'

He has established his new venture EE72 and its accompanying magazine, 72, his first major project since departing his previous role. He states his aim to continue being a "disruptor".

"I constantly interrogate the established norms. I was born and raised in a place where the majority was Black – the physicians, the attorneys, the leader. Then we arrived in England, without funds, and I was a minority. I was incredibly timid. My teachers said I’d never amount to anything. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a dual identity between worlds."

Defying the popular image of industry figures as brash and highly strung, Enninful is calm and projects peace. His path has involved hardship, including publicly shared struggles with depression and addiction.

He has also undergone significant health issues, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I experienced such a difficult period for two years, away from work, anxious I was going to go blind. It’s similar to 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 afraid to do. I’m not going to limit myself to just being an editor or a fashion person."

A Foray into Curation

This determination to be typecast has inspired him outside the realm that built his career. He is now organising a major 1990s exhibition at Tate Britain, bringing together work by a roster of pivotal artists and photographers from the era. The show, he says, aims to evoke the decade's artistic collaboration – and highlight those who did not receive adequate attention at the time.

"Galleries sometimes neglected to shine a light on the right artists because they weren't of the expected background," he states.

This venture itself functions with a novel business model, rejecting traditional advertising in favour of integrated partnerships. "We ask, what can we achieve in partnership? Is it an experience, a series? The magazine is part of a larger creative platform."

An Unstoppable Drive

Currently, Enninful stands as one of the world's most influential creative power brokers. His story, he feels, is a testament to the power of defying expectations.

How would the Enninful of that era react to the Edward of today? 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 reflects. "I never take anything for granted. We were displaced, we left our homeland. I nearly lost my vision. So fear is not a factor. People have doubted me my whole career. But I am unstoppable once I’ve decided to do something."