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

A chance encounter while riding the tube in 1988 transformed the trajectory of a young Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the city's buzzing 1990s artistic milieu, moving from mannequin to stylist and, by the age of 18, becoming the style editor of the iconic i-D.

"It was the height of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I felt we’d be kindred spirits. We all mixed across disciplines. Friday became Saturday into Sunday. I long for that energy."

While Enninful may seem nostalgic, he is not the only one. Recently, a fond idealisation of the 1990s has reached fever pitch. Yet since that time, Enninful believes a noticeable regression. "I believe, we’re less accepting now than we were in the 90s," he says. "The issue extends beyond this country – it’s everywhere."

A Perceived Regression

This shift is hard to ignore: the growth of nationalist groups, the reaction against social awareness, and the reassertion of Eurocentric beauty standards. Where once there was the hope of the late 90s, today a different political figure looms as a possible leader. Furthermore, the British flag, once an emblem of cultural optimism, has returned as a polarising symbol.

For Enninful, the antidote has long been to champion culture in all its diversity. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a wide range of prominent faces from politics.

"Individuals with a platform should wield it," he says, referring to those publishing choices. "There is much discussion about immigration; I would not be in this position if Britain hadn't been a open country, if it refused my family a refuge and an opportunity. That’s the Britain I cherished. I trust this moment will end."

Hope in the Next Generation

He finds hope in the youth of today: "They are far more conscious than we were. They talk about unconscious bias – I was not even aware what that was."

The beginnings of his career would define a groundbreaking career characterised by boldness and inclusivity. Enninful set a precedent as the first man, first Black editor, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His time featured landmark covers showcasing Black models, curvy models, older individuals, and people from varied communities. Critically, sales grew.

"Ignoring large portions of the population, it’s more than that you’re failing to represent – it’s a poor strategy," he emphasises.

Launching a Creative Venture

He has since founded his new venture EE72 and its accompanying magazine, 72, his first major project since leaving his previous role. He expresses a desire to continue being a "change-maker".

"I’ve always questioned the status quo. I was born and raised in a place where everybody was black – the doctors, the attorneys, the president. Then we came to England, without funds, and I found myself on the margins. I was painfully reserved. My teachers declared I’d have no future. Me and my brothers were subject to police stops the suspicion laws … those experiences gave me a sense of being on the inside and the outside."

Contrary to the popular image of fashion editors as loud and temperamental, Enninful is measured in tone and radiates serenity. His path has included its share of adversity, including well-documented periods of depression and substance use.

He has also endured serious health challenges, having had multiple operations on his eyes, resulting in impaired eyesight. "I was in such a difficult period for two years, away from work, anxious I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I thought, if this ever ends, I’m just going to do everything that I was so scared to do. I’m not going to confine myself to just being an editor or a fashion person."

Curating a Cultural Era

This drive to be typecast has propelled him away from the realm that built his career. He is now curating a significant 1990s exhibition at Tate Britain, showcasing work by a host of defining artists and photographers from the era. The show, he notes, aims to evoke the decade's creative cross-pollination – and give platform to those who weren't given a spotlight at the time.

"The establishment often failed to promote the truly innovative creators because they lacked the right pedigree," he observes.

The magazine 72 itself functions with a novel approach, rejecting traditional advertising in favour of partnership-based projects. "Our approach is, what can we achieve in partnership? Is it an experience, a series? The magazine is part of a broader vision."

An Unstoppable Drive

Currently, Enninful operates as one of the world's most respected creative power brokers. His path, he believes, is a testament to the power of following your instincts.

How would the Edward of the 90s think of the Edward of today? He laughs heartily. "He would be astonished, but he’d be proud. In those days I was sceptical of institutions. I never imagined institutions like Tate were within my reach."

He pauses. "I never take anything for granted. We lost our home, we left our homeland. I came close to losing my vision. So fear isn't an option. People have underestimated me my entire life. But nothing can stop me once I’ve made up my mind to do something."