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

A chance encounter on the London Underground in 1988 changed forever the path of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the capital's vibrant 1990s cultural landscape, moving from mannequin to stylist and, before turning twenty, becoming the fashion director of the publication i-D.

"It was the peak of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I knew we’d be great friends. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I miss that spontaneity."

If Enninful sounds nostalgic, he is far from alone. In recent times, a longing look back of the 1990s has reached fever pitch. Yet since that time, Enninful believes a profound shift. "I believe, we’re less accepting now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s everywhere."

Shifting Attitudes

This change is hard to ignore: the rise of nationalist groups, the reaction against social awareness, and the return of Eurocentric beauty standards. Replacing the hope of the Blair era, today a different political personality appears as a possible leader. Even, the Union Jack, once an badge of cultural optimism, has returned as a polarising symbol.

For Enninful, the antidote has long been to promote culture in all its multifaceted forms. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a diverse array of prominent faces from art.

"People with a voice should wield it," he comments, discussing those editorial decisions. "People often debate about immigration; I could not have had this life if Britain hadn't been a welcoming country, if it hadn't given my family a refuge and an education. That’s the Britain I always loved. I believe this moment will fade."

The Younger Generation's Awareness

He takes comfort in the youth of today: "Their awareness is greater than we were. They discuss implicit prejudice – I was not even aware what that was."

His formative years would shape a pioneering career built on fearlessness and inclusivity. Enninful broke barriers as the first man, first black man, first gay man, and first disabled gay man of colour to lead at British Vogue. His time featured diverse covers showcasing Black models, curvy models, an octogenarian, and people from varied communities. Significantly, sales rose.

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

Beyond the Magazine World

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

"I’ve always questioned the status quo. I was brought up in a place where everybody was black – the physicians, the attorneys, the president. Then we arrived in England, penniless, and I was a minority. I was incredibly timid. My teachers said I’d have no future. Me and my brothers were subject to police stops the Sus laws … all that gave me a sense of being on the inside and the outside."

In contrast to the stereotype of fashion editors as brash and temperamental, Enninful is calm and exudes calm. His path has not been immune to hardship, including publicly shared struggles with depression and addiction.

He has also undergone serious health issues, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I experienced such a dark place for two years, away from work, fearing I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 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 restrict myself to just being an editor or a fashion person."

Curating a Cultural Era

This drive to be typecast has led him outside the industry that established him. He is now curating a significant 1990s exhibition at Tate Britain, showcasing work by a host of pivotal artists and photographers from the era. The show, he explains, aims to evoke the decade's artistic collaboration – and highlight those who lacked adequate attention at the time.

"Institutions often failed to shine a light on the right artists because they weren't of the expected background," he comments.

This project itself operates on a different approach, eschewing 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 part of a greater ecosystem."

A Testament to Resilience

Today, Enninful operates as one of the world's most influential creative power brokers. His journey, he states, is a proof to the power of pursuing your passions.

How would the Enninful of that era think of the man he has become? He smiles. "He would be astonished, but he’d be pleased. At that time I was sceptical of institutions. I would not have believed institutions like Tate were within my reach."

He adds. "Gratitude is key. We fled, we left our homeland. I almost lost my vision. So fear isn't an option. People have counted me out my entire life. But no obstacle is too great once I’ve decided to do something."