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

A serendipitous meeting during a tube journey in 1988 altered the trajectory of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the city's buzzing 1990s artistic milieu, moving from model to stylist and, by the age of 18, becoming the fashion director of the iconic i-D.

"It 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 knew we’d be close. We all hung out across disciplines. Friday became Saturday into Sunday. I long for that spontaneity."

While Enninful may seem wistful, he is far from alone. Recently, a longing look back of the 1990s has grown intense. However in the intervening decades, Enninful feels a profound shift. "I believe, we’re more divided now than we were in the 90s," he observes. "It’s not even this country – it’s everywhere."

A Cultural Backslide

This regression is hard to ignore: the growth of populist movements, the backlash against so-called "wokeness", and the reinforcement of narrow beauty standards. Replacing the optimism of the late 90s, currently a different political personality looms as a potential leader. Even, the British flag, once an badge of national pride, has become contentious again.

For Enninful, the solution has always been to promote culture in all its diversity. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a wide range of influential figures from art.

"Individuals with a platform should employ it," he asserts, explaining 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 opportunity. That’s the Britain I cherished. I believe this period will pass."

A New Wave of Consciousness

He finds hope in the younger generation: "Their awareness is greater than we were. They analyse systemic issues – I was not even aware what that was."

The beginnings of his career would define a groundbreaking career characterised by fearlessness and inclusivity. Enninful made history 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 time featured historic front pages showcasing Black models, curvy models, older individuals, and individuals from varied communities. Importantly, sales rose.

"When you ignore vast segments of the population, it’s not just that you’re failing to represent – it’s commercially unwise," he states.

Beyond the Magazine World

He has since founded his agency EE72 and its flagship publication, 72, his key endeavour since departing his previous role. He states his aim to continue being a "change-maker".

"I constantly interrogate the established norms. I was brought up in a place where everybody was black – the doctors, the lawyers, the president. Then we arrived in England, without funds, and I found myself on the margins. I was very shy. My teachers declared I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … all that gave me a dual identity on the inside and the outside."

Contrary to the stereotype of industry figures as brash and temperamental, Enninful is softly spoken and radiates serenity. His life has included its share of adversity, including openly discussed battles with mental health and addiction.

He has also faced significant health issues, having had multiple operations on his eyes, leading to partial sight. "I was in such a dark place for two years, not working, anxious I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever is over, I’m just going to do everything that I was so scared to do. I’m not going to confine myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This determination to be defined narrowly has inspired him outside the industry that established him. He is now organising a significant 1990s exhibition at Tate Britain, featuring work by a group of defining artists and photographers from the era. The show, he notes, aims to explore the decade's creative cross-pollination – and highlight those who lacked due recognition at the time.

"Galleries didn't always shine a light on the most relevant talents because they weren't of the right pedigree," he comments.

This venture itself operates on a unique strategy, forgoing traditional advertising in favour of integrated partnerships. "Our approach is, what can we create collaboratively? Is it an event, a podcast? The magazine is one component of a larger creative platform."

Looking Forward Without Fear

Currently, Enninful stands as one of the world's most respected cultural influencers. His path, he states, is a proof to the power of pursuing your passions.

How would the Edward of the 90s think of the Edward of today? He laughs heartily. "It would be a surprise, but he’d be pleased. At that time I was sceptical of institutions. I never imagined institutions like Tate were a place for someone like me."

He adds. "I never take anything for granted. We were displaced, we left our homeland. I nearly lost my vision. So there is no room for fear. People have doubted me my whole career. But nothing can stop me once I’ve set my intention to do something."