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

A chance encounter during a tube journey in 1988 transformed the trajectory of a teenage Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the capital's vibrant 1990s creative scene, evolving from mannequin to stylist and, by the age of 18, becoming the fashion director of the publication i-D.

"That era was the zenith of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I felt we’d be kindred spirits. We all hung out across disciplines. Friday bled into Saturday into Sunday. I yearn for that energy."

Although Enninful appears wistful, he is not the only one. Lately, a wistful romanticisation of the 1990s has grown intense. But over the last thirty years, Enninful perceives a profound shift. "I feel, we’re more divided now than we were in the 90s," he says. "This isn't just this country – it’s everywhere."

A Cultural Backslide

This regression is difficult to overlook: the rise of far-right politics, the reaction against so-called "wokeness", and the return of Eurocentric beauty standards. Where once there was the optimism of the Blair era, now a different political personality appears as a possible leader. Even, the Union Jack, once an symbol of cultural optimism, has become contentious again.

In Enninful's view, the antidote has always been to promote culture in all its multifaceted forms. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a diverse array of cultural icons from literature.

"People with a voice should employ it," he asserts, discussing those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain hadn't been a lenient country, if it hadn't given my family a home and an education. That’s the Britain I believed in. I hope this moment will fade."

Hope in the Next Generation

He finds hope in the youth of today: "They’re much more aware than we were. They talk about unconscious bias – I didn't even know what that was."

Those early experiences would define a groundbreaking career marked by fearlessness and diversity. Enninful set a precedent as the first man, first black man, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His time featured diverse covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and individuals from all walks of life. Significantly, sales rose.

"When you ignore large portions of the population, it’s not just that you’re not being inclusive – it’s bad for business," he emphasises.

A New Chapter as a 'Disruptor'

He has established his agency EE72 and its flagship publication, 72, his first major project since departing his former post. He states his aim to continue being a "disruptor".

"I’ve always questioned the status quo. I was born and raised in a place where Black professionals were the norm – the physicians, the lawyers, the leader. Then we arrived in England, with nothing, and I found myself on the margins. I was incredibly timid. My teachers predicted I’d achieve nothing. Me and my brothers were subject to police stops the Sus laws … those experiences gave me a sense of being between worlds."

In contrast to the popular image of fashion editors as loud and temperamental, Enninful is calm and radiates serenity. His life has included its share of challenges, including openly discussed battles with depression and addiction.

He has also faced serious health issues, having had multiple operations on his eyes, leading to limited vision. "I was in such a time of fear for two years, not working, fearing I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I vowed, if this ever is over, I’m just going to embrace every opportunity that I was so scared 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 fit into a box has led him away from the realm that established him. He is now putting together a significant 1990s exhibition at Tate Britain, featuring work by a host of pivotal artists and photographers from the era. The show, he says, aims to capture the decade's creative cross-pollination – and highlight those who weren't given due recognition at the time.

"Galleries sometimes neglected to celebrate the most relevant talents because they lacked the expected background," he states.

This project itself uses a novel approach, forgoing traditional advertising in favour of partnership-based projects. "Our approach is, what can we do together? Is it an event, a series? The magazine is a piece within a greater ecosystem."

A Testament to Resilience

Currently, Enninful stands as one of the world's most powerful cultural influencers. His story, he believes, is a testament to the power of defying expectations.

How would the Enninful of that era react to the man he has become? He smiles. "It would be a surprise, but he’d be proud. At that time I was anti-establishment. I never imagined institutions like Tate were necessarily for me."

He reflects. "Gratitude is key. We were displaced, we left our homeland. I almost lost my vision. So fear is not a factor. People have underestimated me my whole career. But no obstacle is too great once I’ve set my intention to do something."