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

A chance encounter while riding the tube in 1988 altered the course of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the capital's vibrant 1990s creative scene, evolving from model to stylist and, while still a teenager, becoming the fashion director of the iconic i-D.

"That time was the peak of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I understood we’d be kindred spirits. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I long for that rawness."

Although Enninful appears wistful, he is in good company. Recently, a wistful romanticisation of the 1990s has reached fever pitch. Yet since that time, Enninful perceives a significant change. "I feel, we’re less accepting now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s a global phenomenon."

Shifting Attitudes

This regression is hard to ignore: the rise of populist movements, the reaction against progressive values, and the return of narrow beauty standards. Where once there was the hope of the Blair era, now a more divisive political personality looms as a possible leader. Even, the British flag, once an symbol of Cool Britannia, has become contentious again.

According to Enninful, the response has consistently been to champion culture in all its multifaceted forms. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a broad spectrum of prominent faces from music.

"Those in a position of influence should use it," he comments, discussing those editorial decisions. "People often debate about immigration; I could not have had this life if Britain was not a welcoming country, if it hadn't given my family a home and an opportunity. That’s the Britain I cherished. I trust this phase will fade."

Hope in the Next Generation

He draws solace in the next generation: "They’re much more aware than we were. They discuss systemic issues – I had no concept what that was."

His formative years would define a trailblazing career marked by boldness and inclusivity. Enninful broke barriers as the first man, first black man, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His tenure featured diverse covers showcasing models of colour, plus-sized women, older individuals, and people from varied communities. Critically, sales increased.

"When you ignore huge sections of the population, it’s more than that you’re excluding people – it’s bad for business," he explains.

A New Chapter as a 'Disruptor'

He has since founded his agency EE72 and its accompanying magazine, 72, his key endeavour since departing his former post. He states his aim to continue being a "disruptor".

"My nature is to challenge the conventional wisdom. I was brought up in a place where Black professionals were the norm – the doctors, the lawyers, the president. Then we came to England, with nothing, and I was a minority. I was painfully reserved. My teachers said I’d have no future. Me and my brothers were subject to police stops the suspicion laws … all that gave me a sense of being between worlds."

Defying the caricature of fashion editors as brash and temperamental, Enninful is softly spoken and radiates serenity. His journey has involved challenges, including well-documented battles with mental health and substance use.

He has also endured serious health issues, having had multiple operations on his eyes, now leaving him with limited vision. "I was in such a dark place for two years, away from work, anxious I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I thought, if this ever ends, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to confine myself to just being an editor or a fashion person."

A Foray into Curation

This determination to fit into a box has led him outside the realm that made his name. He is now organising a significant 1990s exhibition at Tate Britain, showcasing work by a group of influential artists and photographers from the era. The show, he explains, aims to explore the decade's interdisciplinary energy – and spotlight those who weren't given a spotlight at the time.

"Institutions often failed to promote the most relevant talents because they did not have the right pedigree," he states.

The magazine 72 itself uses a different strategy, forgoing traditional advertising in favour of creative collaborations. "Our approach is, what can we achieve in partnership? Is it an experience, a podcast? The magazine is a piece within a greater ecosystem."

A Testament to Resilience

Today, Enninful operates as one of the world's most powerful creative power brokers. His path, he feels, is a demonstration to the power of defying expectations.

What would the Enninful of that era react to the Edward of today? He chuckles. "He’d be in shock, but he’d be impressed. Back then I was anti-establishment. I didn't think institutions like Tate were necessarily for me."

He pauses. "I never take anything for granted. We fled, we fled our country. I nearly lost my vision. So there is no room for fear. People have counted me out my entire life. But nothing can stop me once I’ve set my intention to do something."