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

A serendipitous meeting on the London Underground in 1988 changed forever the path of a teenage Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the London's vibrant 1990s cultural landscape, moving from model to stylist and, by the age of 18, becoming the style editor of the iconic i-D.

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

If Enninful sounds sentimental, he is far from alone. Recently, a fond idealisation of the 1990s has reached fever pitch. But in the intervening decades, Enninful believes a profound shift. "I believe, we’re less tolerant now than we were in the 90s," he observes. "This isn't just this country – it’s a global phenomenon."

Shifting Attitudes

This regression is hard to ignore: the rise of nationalist groups, the pushback against social awareness, and the return of Eurocentric beauty standards. Where once there was the hope of the previous decade, currently a different political force stands as a potential leader. Even, the British flag, once an symbol of cultural optimism, has become contentious again.

In Enninful's view, the response has long been to celebrate culture in all its multifaceted forms. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a wide range of cultural icons from music.

"Individuals with a platform should use it," he asserts, referring to those publishing choices. "There is much discussion about immigration; I would not be in this position if Britain hadn't been a welcoming country, if it refused my family a home and an education. That’s the Britain I believed in. I believe this moment will end."

A New Wave of Consciousness

He finds hope in the younger generation: "They are far more conscious than we were. They analyse implicit prejudice – I had no concept what that was."

His formative years would shape a trailblazing career marked by fearlessness and diversity. Enninful broke barriers as the first man, first Black editor, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His tenure featured historic front pages showcasing Black models, curvy models, older individuals, and individuals from varied communities. Importantly, sales increased.

"Ignoring vast segments of the population, it’s not just that you’re not being inclusive – it’s bad for business," he emphasises.

Launching a Creative Venture

He has established his agency EE72 and its flagship publication, 72, his first major project since moving on from his former post. He expresses a desire to continue being a "change-maker".

"I constantly interrogate the status quo. I was born and raised in a place where everybody was black – the physicians, the attorneys, the president. Then we came to England, penniless, and I was a minority. I was very shy. My teachers said I’d never amount to anything. Me and my brothers were subject to police stops the Sus laws … all that gave me a dual identity between worlds."

Contrary to the caricature of fashion editors as brash and highly strung, Enninful is measured in tone and radiates serenity. His path has involved challenges, including publicly shared periods of depression and addiction.

He has also endured serious health challenges, having undergone several surgeries on his eyes, leading to impaired eyesight. "I endured such a time of fear for two years, not working, anxious I was going to lose my sight. It’s comparable to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever is over, I’m just going to pursue all that I was so fearful to do. I’m not going to restrict myself to just being an editor or a fashion person."

A Foray into Curation

This drive to be typecast has inspired him away from the realm that built his career. He is now organising a seminal 1990s exhibition at Tate Britain, bringing together work by a host of pivotal artists and photographers from the era. The show, he says, aims to explore the decade's interdisciplinary energy – and highlight those who lacked adequate attention at the time.

"Institutions sometimes neglected to promote the most relevant talents because they did not have the expected background," he observes.

This venture itself operates on a unique approach, eschewing traditional advertising in favour of creative collaborations. "We ask, what can we do together? Is it an experience, a series? The magazine is part of a broader vision."

Looking Forward Without Fear

Today, Enninful stands as one of the world's most respected industry leaders. His path, he states, is a demonstration to the power of defying expectations.

How would the Enninful of that era think of the his current self? He chuckles. "He would be astonished, but he’d be proud. In those days I was sceptical of institutions. I would not have believed institutions like Tate were within my reach."

He reflects. "Gratitude is key. We lost our home, we left our homeland. I came close to losing my vision. So fear isn't an option. People have doubted me my entire life. But I am unstoppable once I’ve set my intention to do something."