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

A serendipitous meeting on the London Underground in 1988 altered the course of a young Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the city's vibrant 1990s cultural landscape, progressing from model to stylist and, by the age of 18, becoming the fashion director of i-D magazine.

"That time was the zenith of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I felt we’d be kindred spirits. We all mixed across disciplines. Friday bled into Saturday into Sunday. I long for that rawness."

If Enninful sounds nostalgic, he is not the only one. In recent times, a fond idealisation of the 1990s has reached fever pitch. Yet since that time, Enninful feels a significant change. "In my view, we’re less accepting now than we were in the 90s," he observes. "It’s not even this country – it’s worldwide."

A Cultural Backslide

This regression is increasingly evident: the resurgence of nationalist groups, the backlash against so-called "wokeness", and the reinforcement of Eurocentric beauty standards. Replacing the optimism of the late 90s, currently a different political force looms as a possible leader. Furthermore, the Union Jack, once an symbol of cultural optimism, has returned as a polarising symbol.

In Enninful's view, the antidote has always been to celebrate culture in all its variety. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a broad spectrum of cultural icons from music.

"People with a voice should employ it," he comments, explaining those publishing choices. "There is much discussion about immigration; I could not have had this life 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 always loved. I trust this period will end."

A New Wave of Consciousness

He draws solace in the youth of today: "They are far more conscious than we were. They talk about implicit prejudice – I had no concept what that was."

His formative years would forge a groundbreaking career built on fearlessness and representation. Enninful broke barriers as the first male, first black man, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His leadership featured landmark covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and individuals from all walks of life. Importantly, sales grew.

"When you ignore huge sections of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he explains.

A New Chapter as a 'Disruptor'

He has since founded his agency EE72 and its flagship publication, 72, his first major project since leaving his previous role. He says he wants to continue being a "innovator".

"I’ve always questioned the conventional wisdom. I was born and raised in a place where Black professionals were the norm – the doctors, the lawyers, the president. Then we arrived in England, with nothing, and I found myself on the margins. I was very shy. 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 dual identity between worlds."

In contrast to the popular image of fashion editors as loud and highly strung, Enninful is softly spoken and exudes calm. His life has included its share of challenges, including well-documented periods of depression and substance use.

He has also undergone significant health issues, having had multiple operations on his eyes, leading to impaired eyesight. "I endured such a difficult period for two years, away from work, terrified I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I vowed, if this ever passes, I’m just going to do everything that I was so afraid to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

A Foray into Curation

This determination to be defined narrowly has inspired him away from the world that made his name. He is now putting together a seminal 1990s exhibition at Tate Britain, featuring work by a group of influential artists and photographers from the era. The show, he notes, aims to explore the decade's creative cross-pollination – and give platform to those who weren't given due recognition at the time.

"The establishment sometimes neglected to shine a light on the truly innovative creators because they weren't of the expected background," he states.

This project itself functions with a different approach, eschewing traditional advertising in favour of creative collaborations. "We ask, what can we create collaboratively? Is it an experience, a series? The magazine is a piece within a greater ecosystem."

Looking Forward Without Fear

Now, Enninful stands as one of the world's most powerful industry leaders. His path, he believes, is a demonstration to the power of following your instincts.

What would the Edward of the 90s make of the Edward of today? He laughs heartily. "He would be astonished, but he’d be pleased. Back then I was sceptical of institutions. I would not have believed institutions like Tate were necessarily for me."

He adds. "I never take anything for granted. We were displaced, we fled our country. I almost lost my vision. So fear is not a factor. People have underestimated me my entire life. But no obstacle is too great once I’ve made up my mind to do something."