Edward Enninful on Modern Britain: 'Britain Feels Less Tolerant Now' Compared to the Nineties.

A serendipitous meeting during a tube journey in 1988 altered the course of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the city's vibrant 1990s cultural landscape, progressing from model to stylist and, before turning twenty, becoming the fashion director of the iconic i-D.

"It was the height of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I felt we’d be great friends. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I long for that energy."

Although Enninful appears sentimental, he is in good company. Recently, a longing look back of the 1990s has grown intense. But in the intervening decades, Enninful perceives a significant change. "I feel, we’re more divided now than we were in the 90s," he observes. "This isn't just this country – it’s everywhere."

A Perceived Regression

This change is difficult to overlook: the rise of populist movements, the reaction against progressive values, and the reinforcement of traditional beauty standards. In place of the optimism of the previous decade, today a more divisive political personality appears as a possible leader. Even, the British flag, once an badge of national pride, has become contentious again.

According to Enninful, the solution has consistently been to champion culture in all its multifaceted forms. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a diverse array of influential figures from art.

"Those in a position of influence should employ it," he says, discussing those editorial decisions. "There is much discussion about immigration; I would not be in this position if Britain were not a welcoming country, if it did not offer my family a refuge and an education. That’s the Britain I cherished. I believe this moment will fade."

The Younger Generation's Awareness

He draws solace in the younger generation: "Their awareness is greater than we were. They analyse unconscious bias – I was not even aware what that was."

His formative years would define a groundbreaking career characterised by fearlessness and inclusivity. Enninful made history as the first male, first black man, first gay man, and first disabled Black gay man to lead at British Vogue. His tenure featured diverse covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and individuals from varied communities. Significantly, sales rose.

"To overlook large portions of the population, it’s not just that you’re not being inclusive – it’s commercially unwise," he states.

Beyond the Magazine World

He has since founded his creative company EE72 and its flagship publication, 72, his premier initiative since moving on from his former post. He expresses a desire to continue being a "disruptor".

"I’ve always questioned the conventional wisdom. I was born and raised in a place where everybody was black – the physicians, the lawyers, the president. Then we came to England, with nothing, 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 Sus laws … all that gave me a sense of being between worlds."

In contrast to the stereotype of fashion editors as brash and temperamental, Enninful is softly spoken and projects peace. His life has not been immune to adversity, including well-documented struggles with mental health and substance use.

He has also faced serious health issues, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I experienced such a time of fear for two years, away from work, fearing I was going to go blind. It’s comparable to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever is over, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

A Foray into Curation

This drive to fit into a box has propelled him outside the realm that made his name. He is now organising a major 1990s exhibition at Tate Britain, bringing together work by a roster of pivotal artists and photographers from the era. The show, he explains, aims to capture the decade's interdisciplinary energy – and highlight those who weren't given adequate attention at the time.

"The establishment sometimes neglected to shine a light on the right artists because they weren't of the expected background," he observes.

The magazine 72 itself functions with a unique strategy, rejecting traditional advertising in favour of creative collaborations. "Our approach is, what can we achieve in partnership? Is it an event, a podcast? The magazine is one component of a broader vision."

An Unstoppable Drive

Today, Enninful stands as one of the world's most respected cultural influencers. His story, he feels, is a demonstration to the power of pursuing your passions.

What would the younger Edward think of the Edward of today? He smiles. "He’d be in shock, but he’d be impressed. In those days I was a rebel. I would not have believed institutions like Tate were a place for someone like me."

He adds. "I never take anything for granted. We fled, we left our homeland. I almost lost my vision. So there is no room for fear. People have counted me out my whole career. But nothing can stop me once I’ve made up my mind to do something."