Edward Enninful discusses Modern Britain: 'Britain Feels Less Tolerant Now' Than We Were Decades Ago.

An unexpected discovery while riding the tube in 1988 transformed the course of a young Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the city's electric 1990s artistic milieu, evolving from model to stylist and, while still a teenager, becoming the style editor of the iconic i-D.

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

Although Enninful appears wistful, he is not the only one. Lately, a longing look back of the 1990s has reached fever pitch. But over the last thirty years, Enninful feels a significant change. "I feel, we’re less accepting now than we were in the 90s," he remarks. "It’s not even this country – it’s everywhere."

A Perceived Regression

This regression is increasingly evident: the rise of populist movements, the backlash against so-called "wokeness", and the reinforcement of traditional beauty standards. Where once there was the hope of the late 90s, now a different political personality stands as a potential leader. Even, the British flag, once an symbol of Cool Britannia, has become contentious again.

For Enninful, the solution has long been to celebrate culture in all its multifaceted forms. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a wide range of cultural icons from art.

"Those in a position of influence should wield it," he comments, referring to those publishing choices. "There is much discussion about immigration; I could not have had this life if Britain was not a lenient country, if it refused my family a home and an opportunity. That’s the Britain I cherished. I hope this moment will pass."

The Younger Generation's Awareness

He draws solace in the next generation: "They’re much more aware than we were. They discuss unconscious bias – I was not even aware what that was."

His formative years would shape a pioneering career built on boldness and inclusivity. Enninful set a precedent as the first male, first black man, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His time featured historic front pages showcasing Black models, curvy models, older individuals, and people from varied communities. Importantly, sales grew.

"To overlook vast segments of the population, it’s more than that you’re failing to represent – it’s a poor strategy," he emphasises.

Beyond the Magazine World

He has established his creative company EE72 and its accompanying magazine, 72, his first major project since moving on from his previous role. He states his aim to continue being a "disruptor".

"My nature is to challenge the conventional wisdom. I was brought up in a place where everybody was black – the doctors, the lawyers, the president. Then we came to England, penniless, and I was a minority. I was incredibly timid. My teachers predicted I’d have no future. Me and my brothers were harassed under the Sus laws … this duality gave me a unique perspective on the inside and the outside."

Contrary to the stereotype of industry figures as brash and highly strung, Enninful is softly spoken and projects peace. His path has included its share of challenges, including publicly shared struggles with depression and addiction.

He has also faced serious health issues, having had multiple operations on his eyes, leading to partial sight. "I endured such a difficult period for two years, not working, fearing I was going to lose my sight. It’s similar to PTSD; you just live in fear 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 limit myself to just being an editor or a fashion person."

Curating a Cultural Era

This drive to be typecast has led him away from the world that built his career. He is now putting together a significant 1990s exhibition at Tate Britain, featuring work by a group of pivotal artists and photographers from the era. The show, he says, aims to evoke the decade's creative cross-pollination – and spotlight those who lacked a spotlight at the time.

"Institutions didn't always shine a light on the right artists because they did not have the traditional credentials," he states.

This project itself functions with a unique strategy, eschewing traditional advertising in favour of partnership-based projects. "The question is, what can we do together? Is it an event, a podcast? The magazine is one component of a larger creative platform."

An Unstoppable Drive

Currently, Enninful operates as one of the world's most powerful industry leaders. His journey, he states, is a demonstration to the power of following your instincts.

How would the Enninful of that era make of the his current self? He smiles. "He would be astonished, but he’d be proud. At that time I was anti-establishment. I would not have believed institutions like Tate were within my reach."

He pauses. "Nothing is assumed. We fled, we left our homeland. I nearly lost my vision. So fear isn't an option. People have counted me out my entire life. But I am unstoppable once I’ve decided to do something."