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

An unexpected discovery on the London Underground in 1988 changed forever the course of a young Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the London's vibrant 1990s cultural landscape, evolving from model to stylist and, while still a teenager, becoming the style editor of the publication i-D.

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

If Enninful sounds sentimental, he is in good company. In recent times, a wistful romanticisation of the 1990s has reached fever pitch. However since that time, Enninful believes a noticeable regression. "In my view, we’re less accepting now than we were in the 90s," he says. "The issue extends beyond this country – it’s a global phenomenon."

Shifting Attitudes

This shift is difficult to overlook: the resurgence of populist movements, the backlash against so-called "wokeness", and the reinforcement of Eurocentric beauty standards. Replacing the hope of the previous decade, currently a different political force looms as a possible leader. Even, the Union Jack, once an badge of Cool Britannia, has sparked debate once more.

According to Enninful, the antidote has consistently been to promote culture in all its variety. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a broad spectrum of prominent faces from art.

"Those in a position of influence should wield it," he asserts, discussing those publishing choices. "People often debate about immigration; I would not be in this position if Britain were not a open country, if it did not offer my family a home and an opportunity. That’s the Britain I believed in. I hope this moment will pass."

The Younger Generation's Awareness

He finds hope in the next generation: "They’re much more aware than we were. They analyse unconscious bias – I had no concept what that was."

Those early experiences would forge a trailblazing career marked by boldness and inclusivity. Enninful made history as the first man, first Black editor, first gay man, and first disabled gay man of colour to lead at British Vogue. His leadership featured diverse covers showcasing people of diverse backgrounds, curvy models, an octogenarian, and people from varied communities. Significantly, sales increased.

"Ignoring huge sections of the population, it’s more than that you’re failing to represent – it’s bad for business," he states.

Launching a Creative Venture

He has recently launched his agency EE72 and its accompanying magazine, 72, his first major project since moving on from his former post. He expresses a desire to continue being a "innovator".

"My nature is to challenge the status quo. I was born and raised in a place where Black professionals were the norm – the physicians, the attorneys, the president. Then we came to England, without funds, and I found myself on the margins. I was very shy. My teachers declared I’d have no future. Me and my brothers were harassed under the suspicion laws … this duality gave me a sense of being on the inside and the outside."

In contrast to the caricature of fashion editors as loud and temperamental, Enninful is calm and radiates serenity. His life has not been immune to hardship, including openly discussed periods of depression and substance use.

He has also faced significant health challenges, having had multiple operations on his eyes, resulting in partial sight. "I experienced such a dark place for two years, not working, anxious I was going to go blind. It’s comparable to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever ends, I’m just going to embrace every opportunity 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 determination to be typecast has propelled him outside the realm that built his career. He is now organising a seminal 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 creative cross-pollination – and give platform to those who did not receive a spotlight at the time.

"The establishment sometimes neglected to shine a light on the most relevant talents because they weren't of the expected background," he comments.

This project itself operates on a different strategy, forgoing traditional advertising in favour of creative collaborations. "The question is, what can we create collaboratively? Is it an experience, a series? The magazine is one component of a greater ecosystem."

Looking Forward Without Fear

Currently, Enninful is regarded as one of the world's most powerful creative power brokers. His path, he states, is a proof to the power of pursuing your passions.

How would the younger Edward make of the man he has become? He laughs heartily. "He would be astonished, but he’d be pleased. At that time I was a rebel. I would not have believed institutions like Tate were within my reach."

He reflects. "I never take anything for granted. We lost our home, we left our homeland. I almost lost my vision. So there is no room for fear. People have underestimated me my entire life. But no obstacle is too great once I’ve set my intention to do something."