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

A chance encounter while riding the tube in 1988 changed forever the trajectory of a teenage Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was quickly drawn into the London's vibrant 1990s cultural landscape, evolving from mannequin to stylist and, before turning twenty, becoming the fashion director of the iconic i-D.

"That era was the peak of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I understood we’d be great friends. We all mixed across disciplines. Friday bled into Saturday into Sunday. I miss that energy."

Although Enninful appears nostalgic, he is not the only one. Recently, a wistful romanticisation of the 1990s has become pervasive. But in the intervening decades, Enninful perceives a profound shift. "I believe, we’re less accepting now than we were in the 90s," he remarks. "This isn't just this country – it’s a global phenomenon."

A Perceived Regression

This shift is hard to ignore: the resurgence of far-right politics, the reaction against social awareness, and the reinforcement of Eurocentric beauty standards. In place of the optimism of the late 90s, today a different political personality looms as a potential leader. Even, the Union Jack, once an symbol of national pride, has returned as a polarising symbol.

In Enninful's view, the antidote has long been to promote 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, showcasing a diverse array of prominent faces from art.

"Those in a position of influence should use it," he says, referring to those editorial decisions. "There is much discussion about immigration; I could not have had this life if Britain hadn't been a welcoming country, if it refused my family a refuge and an opportunity. That’s the Britain I always loved. I hope this moment will fade."

The Younger Generation's Awareness

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

His formative years would forge a pioneering career built on boldness and inclusivity. Enninful broke barriers as the first male, first Black editor, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His leadership featured landmark covers showcasing Black models, curvy models, older individuals, and individuals 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 commercially unwise," he states.

A New Chapter as a 'Disruptor'

He has established his new venture 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 "innovator".

"I’ve always questioned the status quo. I was brought up in a place where the majority was Black – the physicians, the lawyers, the president. Then we arrived in England, penniless, and I became the 'other'. I was painfully reserved. My teachers predicted I’d have no future. Me and my brothers were harassed under the suspicion laws … all that gave me a unique perspective on the inside and the outside."

Defying the popular image of fashion editors as brash and highly strung, Enninful is calm and radiates serenity. His path has not been immune to hardship, including publicly shared battles with depression and addiction.

He has also endured significant health issues, having had multiple operations on his eyes, leading to partial sight. "I endured such a time of fear for two years, not working, anxious I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I vowed, if this ever is over, 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 figure in fashion."

A Foray into Curation

This refusal to be typecast has led him beyond the world that established him. He is now organising a major 1990s exhibition at Tate Britain, showcasing work by a roster of influential artists and photographers from the era. The show, he says, aims to explore the decade's creative cross-pollination – and highlight those who did not receive due recognition at the time.

"Galleries often failed to shine a light on the truly innovative creators because they lacked the right pedigree," he states.

This venture itself functions with a different strategy, forgoing traditional advertising in favour of creative collaborations. "Our approach is, what can we create collaboratively? Is it an experience, a series? The magazine is a piece within a broader vision."

Looking Forward Without Fear

Now, Enninful is regarded as one of the world's most powerful cultural influencers. His story, he states, is a testament to the power of pursuing your passions.

What would the Edward of the 90s make of the Edward of today? He smiles. "He would be astonished, but he’d be impressed. In those days I was a rebel. I never imagined institutions like Tate were within my reach."

He reflects. "Nothing is assumed. We fled, we left our homeland. I nearly lost my vision. So there is no room for fear. People have counted me out my whole career. But I am unstoppable once I’ve decided to do something."