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

An unexpected discovery during a tube journey in 1988 altered the path of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the capital's electric 1990s artistic milieu, moving from model to stylist and, while still a teenager, becoming the style editor of the iconic i-D.

"That time was the height of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I understood we’d be kindred spirits. We all hung out across disciplines. Friday became Saturday into Sunday. I long for that energy."

If Enninful sounds nostalgic, he is not the only one. Lately, a longing look back of the 1990s has grown intense. However in the intervening decades, Enninful feels a noticeable regression. "I feel, we’re less tolerant now than we were in the 90s," he says. "It’s not even this country – it’s a global phenomenon."

Shifting Attitudes

This regression is hard to ignore: the growth of populist movements, the backlash against progressive values, and the return of narrow beauty standards. In place of the hope of the Blair era, today a different political personality looms as a potential leader. Even, the Union Jack, once an emblem of cultural optimism, has returned as a polarising symbol.

According to Enninful, the response has always been to celebrate culture in all its variety. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a broad spectrum of influential figures from art.

"Those in a position of influence should use it," he comments, explaining 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 opportunity. That’s the Britain I believed in. I hope this period will end."

Hope in the Next Generation

He takes comfort in the next generation: "They’re much more aware than we were. They analyse systemic issues – I didn't even know what that was."

His formative years would shape a trailblazing career built on boldness and inclusivity. Enninful made history as the first male, first Black editor, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His time featured diverse covers showcasing models of colour, curvy models, older individuals, and people from all walks of life. Importantly, sales increased.

"To overlook vast segments of the population, it’s more than that you’re excluding people – it’s bad for business," he explains.

Beyond the Magazine World

He has since founded 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".

"I’ve always questioned the conventional wisdom. I was raised in a place where the majority was Black – the doctors, the attorneys, the leader. Then we came to England, without funds, and I was a minority. I was painfully reserved. My teachers predicted I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … all that gave me a unique perspective on the inside and the outside."

In contrast to the caricature of fashion editors as brash and temperamental, Enninful is softly spoken and exudes calm. His life has included its share of hardship, including openly discussed battles with mental health and addiction.

He has also endured serious health challenges, having had multiple operations 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 thought, if this ever passes, 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 determination to be typecast has led him outside the world that made his name. 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 notes, aims to evoke the decade's creative cross-pollination – and highlight those who lacked a spotlight at the time.

"The establishment sometimes neglected to shine a light on the most relevant talents because they lacked the expected background," he comments.

The magazine 72 itself operates on a unique business model, forgoing traditional advertising in favour of partnership-based projects. "Our approach is, what can we do together? Is it an experience, a podcast? The magazine is part of a larger creative platform."

Looking Forward Without Fear

Now, Enninful is regarded as one of the world's most powerful creative power brokers. His journey, he states, is a testament to the power of following your instincts.

How would the younger Edward react to the Edward of today? He laughs heartily. "It would be a surprise, but he’d be pleased. Back then I was anti-establishment. I didn't think institutions like Tate were necessarily for me."

He adds. "I never take anything for granted. We were displaced, we fled our country. I almost lost my vision. So fear isn't an option. People have doubted me my entire life. But nothing can stop me once I’ve decided to do something."