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

A chance encounter during a tube journey in 1988 altered the path of a teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the city's electric 1990s artistic milieu, progressing from model to stylist and, by the age of 18, becoming the fashion director of the iconic i-D.

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

While Enninful may seem wistful, he is far from alone. Lately, a wistful romanticisation of the 1990s has reached fever pitch. But in the intervening decades, Enninful feels a profound shift. "I believe, we’re less accepting now than we were in the 90s," he says. "It’s not even this country – it’s a global phenomenon."

A Perceived Regression

This regression is difficult to overlook: the growth of far-right politics, the backlash against so-called "wokeness", and the reassertion of Eurocentric beauty standards. Replacing the hope of the Blair era, currently a different political force appears as a possible leader. Even, the Union Jack, once an badge of cultural optimism, has returned as a polarising symbol.

In Enninful's view, the solution has always been to promote culture in all its variety. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a diverse array of prominent faces from politics.

"Individuals with a platform should use it," he says, explaining those editorial decisions. "Everyone talks 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 cherished. I trust this phase will pass."

A New Wave of Consciousness

He draws solace in the next generation: "They’re much more aware than we were. They analyse implicit prejudice – I didn't even know what that was."

The beginnings of his career would define a groundbreaking career characterised by boldness and inclusivity. Enninful broke barriers as the first man, first black man, first gay man, and first disabled Black gay man to take the helm at British Vogue. His leadership featured historic front pages showcasing Black models, plus-sized women, an octogenarian, and people from all walks of life. Significantly, sales grew.

"Ignoring huge sections of the population, it’s not just that you’re failing to represent – it’s commercially unwise," he explains.

A New Chapter as a 'Disruptor'

He has since founded his creative company EE72 and its accompanying magazine, 72, his premier initiative since leaving his former post. He states his aim to continue being a "change-maker".

"I constantly interrogate the status quo. I was born and raised in a place where everybody was black – the physicians, the attorneys, the president. Then we arrived in England, with nothing, and I became the 'other'. I was painfully reserved. My teachers declared I’d achieve nothing. Me and my brothers were stopped by the police the suspicion laws … all that gave me a dual identity on the inside and the outside."

Contrary to the caricature of industry figures as brash and highly strung, Enninful is softly spoken and radiates serenity. His journey has not been immune to challenges, including openly discussed battles with depression and addiction.

He has also faced significant health challenges, having undergone several surgeries on his eyes, leading to limited vision. "I experienced such a dark place for two years, away from work, fearing I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever ends, I’m just going to do everything that I was so scared to do. I’m not going to limit myself to just being an editor or a fashion person."

Curating a Cultural Era

This determination to fit into a box has propelled him outside the industry that made his name. He is now curating a seminal 1990s exhibition at Tate Britain, showcasing work by a group 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 adequate attention at the time.

"Galleries often failed to promote the truly innovative creators because they did not have the expected background," he states.

This project itself uses a novel strategy, eschewing traditional advertising in favour of integrated partnerships. "We ask, what can we achieve in partnership? Is it an experience, a series? The magazine is one component of a greater ecosystem."

Looking Forward Without Fear

Currently, Enninful stands as one of the world's most respected cultural influencers. His path, he feels, is a demonstration to the power of following your instincts.

What would the younger Edward think of the Edward of today? He chuckles. "He’d be in shock, but he’d be pleased. Back then I was sceptical of institutions. I didn't think institutions like Tate were a place for someone like me."

He pauses. "Gratitude is key. We lost our home, we fled our country. I came close to losing my vision. So fear is not a factor. People have doubted me my whole career. But I am unstoppable once I’ve made up my mind to do something."