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

A chance encounter on the London Underground in 1988 altered the path of a young Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the city's electric 1990s artistic milieu, progressing from mannequin to stylist and, by the age of 18, becoming the fashion director of i-D magazine.

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

While Enninful may seem nostalgic, he is not the only one. In recent times, a wistful romanticisation of the 1990s has grown intense. But since that time, Enninful perceives a profound shift. "In my view, we’re less tolerant now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s worldwide."

Shifting Attitudes

This shift is hard to ignore: the resurgence of nationalist groups, the backlash against social awareness, and the return of traditional beauty standards. Replacing the optimism of the Blair era, currently a different political figure stands as a possible leader. Furthermore, the British flag, once an symbol of national pride, has returned as a polarising symbol.

According to Enninful, the solution has always been to promote 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 celebration of modern Britain, featuring a diverse array of cultural icons from art.

"People with a voice should employ it," he asserts, referring to those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain were not a lenient country, if it did not offer my family a refuge and an education. That’s the Britain I always loved. I hope this period will end."

A New Wave of Consciousness

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

Those early experiences would forge a pioneering career characterised by boldness and representation. Enninful broke barriers as the first man, first Black editor, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His leadership featured landmark covers showcasing models of colour, curvy models, an octogenarian, and individuals from all walks of life. Critically, sales grew.

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

A New Chapter as a 'Disruptor'

He has established his creative company EE72 and its accompanying magazine, 72, his premier initiative since leaving his former post. He says he wants to continue being a "change-maker".

"I constantly interrogate the status quo. I was born and raised in a place where the majority was Black – the physicians, the attorneys, the president. Then we arrived in England, without funds, and I was a minority. I was incredibly timid. My teachers declared I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … all that gave me a sense of being both an insider and outsider."

Defying the caricature of fashion editors as brash and temperamental, Enninful is softly spoken and projects peace. His path has involved 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 limited vision. "I experienced such a time of fear 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 prayed, if this ever is over, I’m just going to do everything that I was so fearful to do. I’m not going to limit myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This drive to be typecast has inspired him outside the industry that built his career. He is now putting together a significant 1990s exhibition at Tate Britain, showcasing work by a host of pivotal artists and photographers from the era. The show, he notes, aims to explore the decade's artistic collaboration – and highlight those who weren't given a spotlight at the time.

"Galleries sometimes neglected to shine a light on the right artists because they lacked the expected background," he states.

This project itself functions with a different business model, forgoing traditional advertising in favour of integrated partnerships. "We ask, what can we create collaboratively? Is it an experience, a podcast? The magazine is part of a greater ecosystem."

Looking Forward Without Fear

Currently, Enninful stands as one of the world's most powerful cultural influencers. His journey, he feels, is a testament to the power of pursuing your passions.

How would the Edward of the 90s think of the man he has become? He laughs heartily. "He would be astonished, but he’d be impressed. In those days I was anti-establishment. I never imagined institutions like Tate were necessarily for me."

He adds. "Gratitude is key. We lost our home, we left our homeland. I almost lost my vision. So there is no room for fear. People have doubted me my whole career. But I am unstoppable once I’ve made up my mind to do something."