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

An unexpected discovery while riding the tube in 1988 changed forever the trajectory of a young Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the capital's buzzing 1990s creative scene, evolving from mannequin to stylist and, by the age of 18, becoming the fashion director of the publication i-D.

"That era was the zenith of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I understood we’d be kindred spirits. We all socialised across disciplines. Friday became Saturday into Sunday. I yearn for that energy."

While Enninful may seem wistful, he is not the only one. Recently, a fond idealisation of the 1990s has reached fever pitch. However in the intervening decades, Enninful feels a profound shift. "I believe, we’re more divided now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s a global phenomenon."

A Cultural Backslide

This shift is difficult to overlook: the resurgence of nationalist groups, the pushback against so-called "wokeness", and the reassertion of Eurocentric beauty standards. Where once there was the optimism of the Blair era, currently a more divisive political personality looms as a possible leader. Even, the Union Jack, once an symbol of national pride, has sparked debate once more.

In Enninful's view, the antidote has consistently been to promote culture in all its multifaceted forms. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a diverse array of prominent faces from literature.

"Individuals with a platform should wield it," he says, explaining those publishing choices. "People often debate about immigration; I wouldn't be here if Britain was not a welcoming 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 pass."

A New Wave of Consciousness

He takes comfort in the next generation: "Their awareness is greater than we were. They analyse implicit prejudice – I was not even aware what that was."

Those early experiences would forge a pioneering career marked by fearlessness and representation. Enninful made history as the first man, first Black editor, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His time featured landmark covers showcasing people of diverse backgrounds, curvy models, an octogenarian, and people from varied communities. Importantly, sales rose.

"When you ignore vast segments of the population, it’s more than that you’re not being inclusive – it’s bad for business," he explains.

Launching a Creative Venture

He has recently launched his agency EE72 and its flagship publication, 72, his key endeavour since leaving his former post. He expresses a desire to continue being a "change-maker".

"I’ve always questioned the conventional wisdom. I was brought up in a place where Black professionals were the norm – the doctors, the lawyers, the leader. Then we came to England, penniless, and I was a minority. I was painfully reserved. My teachers said I’d never amount to anything. Me and my brothers were harassed under the suspicion laws … those experiences gave me a dual identity between worlds."

In contrast to the stereotype of fashion editors as brash and temperamental, Enninful is measured in tone and exudes calm. His life has involved challenges, including openly discussed struggles with mental health and addiction.

He has also endured serious health issues, having undergone several surgeries on his eyes, now leaving him with partial sight. "I experienced such a time of fear for two years, not working, anxious I was going to lose my sight. It’s comparable to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever ends, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to confine myself to just being an editor or a fashion person."

A Foray into Curation

This refusal to be typecast has inspired him outside the realm that built his career. He is now organising a significant 1990s exhibition at Tate Britain, bringing together work by a group of defining artists and photographers from the era. The show, he says, aims to capture the decade's creative cross-pollination – and spotlight those who weren't given due recognition at the time.

"The establishment often failed to shine a light on the truly innovative creators because they lacked the traditional credentials," he observes.

This venture itself operates on a different business model, rejecting traditional advertising in favour of partnership-based projects. "The question is, what can we achieve in partnership? Is it an experience, a series? The magazine is a piece within a larger creative platform."

A Testament to Resilience

Now, Enninful operates as one of the world's most influential creative power brokers. His journey, he feels, is a demonstration to the power of following your instincts.

What would the Edward of the 90s make of the man he has become? He laughs heartily. "He would be astonished, but he’d be proud. Back then I was sceptical of institutions. I didn't think institutions like Tate were within my reach."

He reflects. "Gratitude is key. We were displaced, we fled our country. I nearly lost my vision. So fear isn't an option. People have underestimated me my entire life. But nothing can stop me once I’ve set my intention to do something."