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

An unexpected discovery during a tube journey in 1988 changed forever the path of a teenage Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the capital's buzzing 1990s creative scene, moving from mannequin to stylist and, by the age of 18, becoming the style editor of i-D magazine.

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

While Enninful may seem sentimental, he is in good company. Recently, a wistful romanticisation of the 1990s has become pervasive. But in the intervening decades, Enninful perceives a significant change. "In my view, we’re less accepting now than we were in the 90s," he observes. "The issue extends beyond this country – it’s everywhere."

A Perceived Regression

This regression is hard to ignore: the growth of nationalist groups, the pushback against so-called "wokeness", and the return of Eurocentric beauty standards. Where once there was the optimism of the previous decade, now a different 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 antidote has always been to promote culture in all its diversity. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a diverse array of cultural icons from literature.

"People with a voice should wield it," he says, referring to those editorial decisions. "Everyone talks about immigration; I could not have had this life if Britain was not a open country, if it did not offer my family a refuge and an opportunity. That’s the Britain I always loved. I trust this phase will pass."

Hope in the Next Generation

He draws solace in the next generation: "They are far more conscious than we were. They analyse systemic issues – I had no concept what that was."

Those early experiences would shape a trailblazing career characterised by fearlessness and inclusivity. Enninful set a precedent as the first man, first black man, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His leadership featured landmark covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and individuals from varied communities. Significantly, sales increased.

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

Launching a Creative Venture

He has recently launched his new venture EE72 and its flagship publication, 72, his premier initiative since moving on from his previous role. He states his aim to continue being a "innovator".

"I’ve always questioned the conventional wisdom. I was brought up in a place where everybody was black – the doctors, the attorneys, the president. Then we arrived in England, penniless, and I became the 'other'. I was incredibly timid. My teachers said 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 highly strung, Enninful is calm and projects peace. His life has involved adversity, including publicly shared periods of mental health and addiction.

He has also undergone significant health issues, having undergone several surgeries on his eyes, leading to partial sight. "I endured 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 thought, if this ever passes, I’m just going to do everything 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 be defined narrowly has led him outside the world that built his career. He is now organising a seminal 1990s exhibition at Tate Britain, bringing together work by a group of defining artists and photographers from the era. The show, he explains, aims to explore the decade's artistic collaboration – and give platform to those who did not receive due recognition at the time.

"Institutions sometimes neglected to shine a light on the right artists because they did not have the traditional credentials," he observes.

This venture itself functions with a different approach, forgoing traditional advertising in favour of creative collaborations. "Our approach is, what can we do together? Is it an experience, a podcast? The magazine is a piece within a broader vision."

Looking Forward Without Fear

Currently, Enninful operates as one of the world's most respected creative power brokers. His story, he feels, is a testament to the power of pursuing your passions.

How would the Edward of the 90s make of the Edward of today? He chuckles. "He would be astonished, but he’d be pleased. Back then I was a rebel. I would not have believed institutions like Tate were within my reach."

He adds. "Nothing is assumed. We lost our home, 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 no obstacle is too great once I’ve set my intention to do something."