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

A chance encounter while riding the tube in 1988 changed forever the course of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the London's vibrant 1990s creative scene, moving from model to stylist and, by the age of 18, becoming the fashion director of i-D magazine.

"That time was the height of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I knew we’d be close. We all mixed across disciplines. Friday bled into Saturday into Sunday. I miss that energy."

While Enninful may seem sentimental, he is far from alone. Lately, a wistful romanticisation of the 1990s has become pervasive. However over the last thirty years, Enninful perceives a noticeable regression. "I believe, we’re less accepting now than we were in the 90s," he remarks. "This isn't just this country – it’s worldwide."

A Cultural Backslide

This change is hard to ignore: the resurgence of populist movements, the reaction against so-called "wokeness", and the return of narrow beauty standards. In place of the optimism of the previous decade, today a different political personality appears as a potential leader. Furthermore, the British flag, once an badge of cultural optimism, has returned as a polarising symbol.

In Enninful's view, the antidote has consistently been to champion culture in all its diversity. 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 broad spectrum of prominent faces from politics.

"Those in a position of influence should wield it," he comments, discussing those publishing choices. "People often debate about immigration; I could not have had this life if Britain was not a lenient country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I always loved. I believe this phase will fade."

The Younger Generation's Awareness

He draws solace in the youth of today: "Their awareness is greater than we were. They discuss unconscious bias – I had no concept what that was."

His formative years would forge a groundbreaking career marked by boldness and representation. Enninful made history as the first male, first Black editor, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His leadership featured landmark covers showcasing Black models, curvy models, an octogenarian, and people from varied communities. Importantly, sales grew.

"To overlook huge sections of the population, it’s not just that you’re excluding people – it’s bad for business," he states.

Beyond the Magazine World

He has established his creative company EE72 and its flagship publication, 72, his key endeavour since leaving his former post. He says he wants to continue being a "disruptor".

"I’ve always questioned the status quo. I was born and raised in a place where everybody was black – the physicians, the attorneys, the president. Then we arrived in England, with nothing, and I found myself on the margins. I was painfully reserved. My teachers said I’d never amount to anything. Me and my brothers were subject to police stops the Sus laws … all that gave me a sense of being both an insider and outsider."

Contrary to the popular image of fashion editors as loud and temperamental, Enninful is softly spoken and projects peace. His path has not been immune to hardship, including publicly shared periods of depression and addiction.

He has also faced serious health issues, having undergone several surgeries on his eyes, now leaving him with partial sight. "I endured such a dark place for two years, not working, terrified I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I prayed, if this ever ends, 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 fashion person."

Curating a Cultural Era

This determination to fit into a box has propelled him beyond the realm that built his career. He is now curating a seminal 1990s exhibition at Tate Britain, bringing together work by a group of pivotal artists and photographers from the era. The show, he notes, aims to explore the decade's interdisciplinary energy – and spotlight those who did not receive adequate attention at the time.

"Galleries didn't always celebrate the right artists because they weren't of the expected background," he comments.

This venture itself functions with a different business model, eschewing traditional advertising in favour of partnership-based projects. "Our approach is, what can we create collaboratively? Is it an experience, a series? The magazine is part of a greater ecosystem."

A Testament to Resilience

Currently, Enninful is regarded as one of the world's most influential industry leaders. His path, he believes, is a testament to the power of defying expectations.

What would the younger Edward react to the his current self? He smiles. "He would be astonished, but he’d be pleased. At that time I was sceptical of institutions. I didn't think institutions like Tate were necessarily for me."

He pauses. "Nothing is assumed. We were displaced, we left our homeland. I almost lost my vision. So there is no room for fear. People have counted me out my whole career. But I am unstoppable once I’ve made up my mind to do something."