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

An unexpected discovery during a tube journey in 1988 transformed the course of a teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the city's buzzing 1990s cultural landscape, evolving from mannequin to stylist and, by the age of 18, becoming the fashion director of the iconic i-D.

"That era was the height of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I felt we’d be close. We all hung out across disciplines. Friday became Saturday into Sunday. I yearn for that rawness."

While Enninful may seem sentimental, he is in good company. In recent times, a fond idealisation of the 1990s has become pervasive. But over the last thirty years, Enninful believes a profound shift. "I feel, we’re less tolerant now than we were in the 90s," he remarks. "This isn't just this country – it’s worldwide."

A Perceived Regression

This regression is hard to ignore: the resurgence of nationalist groups, the reaction against social awareness, and the reinforcement of traditional beauty standards. In place of the hope of the Blair era, today a different political figure stands as a possible leader. Even, the Union Jack, once an badge of cultural optimism, has become contentious again.

According to Enninful, the antidote has always been to celebrate culture in all its multifaceted forms. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a diverse array of cultural icons from literature.

"Those in a position of influence should employ it," he asserts, referring to those publishing choices. "There is much discussion about immigration; I would not be in this position if Britain hadn't been a welcoming country, if it refused my family a home and an opportunity. That’s the Britain I cherished. I hope this moment will fade."

The Younger Generation's Awareness

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

Those early experiences would forge a trailblazing career marked by fearlessness and representation. Enninful set a precedent as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His time featured landmark covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and people from varied communities. Importantly, sales increased.

"Ignoring large portions of the population, it’s more than that you’re not being inclusive – it’s commercially unwise," he states.

Launching a Creative Venture

He has established his new venture EE72 and its accompanying magazine, 72, his key endeavour since moving on from his former post. He states his aim to continue being a "change-maker".

"My nature is to challenge the status quo. I was brought up in a place where the majority was Black – the doctors, the attorneys, the leader. Then we came to England, with nothing, and I became the 'other'. I was painfully reserved. My teachers said I’d have no future. Me and my brothers were subject to police stops the Sus laws … this duality gave me a unique perspective between worlds."

Contrary to the popular image of fashion editors as brash and temperamental, Enninful is measured in tone and projects peace. His life has included its share of challenges, including well-documented battles with depression and substance use.

He has also faced significant health issues, having had multiple operations on his eyes, resulting in impaired eyesight. "I endured such a dark place for two years, away from work, terrified I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I vowed, if this ever is over, I’m just going to pursue all that I was so afraid to do. I’m not going to limit myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This refusal to fit into a box has inspired him beyond the realm that established him. He is now organising a significant 1990s exhibition at Tate Britain, showcasing work by a roster of defining artists and photographers from the era. The show, he says, aims to capture the decade's artistic collaboration – and highlight those who did not receive adequate attention at the time.

"The establishment sometimes neglected to shine a light on the most relevant talents because they weren't of the right pedigree," he observes.

This project itself operates on a different business model, rejecting traditional advertising in favour of partnership-based projects. "We ask, what can we do together? Is it an event, a podcast? The magazine is a piece within a larger creative platform."

Looking Forward Without Fear

Currently, Enninful is regarded as one of the world's most powerful cultural influencers. His journey, he feels, is a proof to the power of following your instincts.

What would the Enninful of that era react to the man he has become? He laughs heartily. "He’d be in shock, but he’d be proud. Back then I was a rebel. I would not have believed institutions like Tate were necessarily for me."

He reflects. "I never take anything for granted. We fled, we left our homeland. I came close to losing my vision. So fear is not a factor. People have underestimated me my entire life. But nothing can stop me once I’ve set my intention to do something."