Edward Enninful on Modern Britain: 'Britain Feels Less Tolerant Now' Compared to the Nineties.

An unexpected discovery while riding the tube in 1988 transformed the trajectory of a teenage Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the capital's electric 1990s artistic milieu, moving from mannequin to stylist and, before turning twenty, becoming the style editor of the publication i-D.

"It was the peak of the YBA movement – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I understood we’d be kindred spirits. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I yearn for that rawness."

If Enninful sounds wistful, he is far from alone. In recent times, a longing look back of the 1990s has reached fever pitch. Yet in the intervening decades, Enninful perceives a significant change. "I believe, we’re more divided now than we were in the 90s," he remarks. "This isn't just this country – it’s worldwide."

Shifting Attitudes

This shift is increasingly evident: the rise of nationalist groups, the backlash against so-called "wokeness", and the reinforcement of narrow beauty standards. In place of the hope of the previous decade, today a different political figure stands as a possible leader. Even, the Union Jack, once an symbol of cultural optimism, has returned as a polarising symbol.

According to Enninful, the response has long 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 snapshot of modern Britain, including a diverse array of influential figures from literature.

"Individuals with a platform should wield it," he says, explaining those publishing choices. "There is much discussion about immigration; I could not have had this life if Britain hadn't been a open 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 fade."

A New Wave of Consciousness

He takes comfort in the next generation: "They are far more conscious than we were. They talk about implicit prejudice – I was not even aware what that was."

Those early experiences would define a groundbreaking career built on fearlessness and diversity. Enninful set a precedent as the first man, first Black editor, first gay man, and first disabled gay man of colour to lead at British Vogue. His tenure featured historic front pages showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and individuals from varied communities. Critically, sales increased.

"Ignoring 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 established his new venture EE72 and its flagship publication, 72, his key endeavour since departing his former post. He states his aim to continue being a "disruptor".

"My nature is to challenge the established norms. I was brought up in a place where Black professionals were the norm – the physicians, the attorneys, the president. 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 harassed under the Sus laws … all that gave me a sense of being on the inside and the outside."

Defying the stereotype of industry figures as brash and temperamental, Enninful is measured in tone and exudes calm. His path has included its share of challenges, including openly discussed battles with depression and substance use.

He has also undergone significant health challenges, having undergone several surgeries on his eyes, now leaving him with partial sight. "I endured such a time of fear for two years, away from work, fearing I was going to go blind. 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 pursue all that I was so scared to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This refusal to be defined narrowly has led him away from the world that established him. He is now putting together a major 1990s exhibition at Tate Britain, bringing together work by a roster of defining artists and photographers from the era. The show, he explains, aims to explore the decade's interdisciplinary energy – and spotlight those who did not receive a spotlight at the time.

"The establishment often failed to shine a light on the most relevant talents because they lacked the right pedigree," he observes.

This project itself uses a novel business model, rejecting traditional advertising in favour of creative collaborations. "Our approach is, what can we create collaboratively? Is it an event, a podcast? The magazine is part of a broader vision."

A Testament to Resilience

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

What would the Edward of the 90s think of the his current self? He laughs heartily. "He would be astonished, but he’d be impressed. Back then I was anti-establishment. I never imagined institutions like Tate were a place for someone like me."

He pauses. "I never take anything for granted. We fled, we left our homeland. I came close to losing my vision. So fear isn't an option. People have doubted me my whole career. But I am unstoppable once I’ve made up my mind to do something."