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

A serendipitous meeting during a tube journey in 1988 changed forever the path of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the London's buzzing 1990s artistic milieu, moving from mannequin to stylist and, while still a teenager, becoming the style editor of the publication i-D.

"It was the peak of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I understood we’d be close. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I miss that rawness."

If Enninful sounds wistful, he is far from alone. Recently, a longing look back of the 1990s has become pervasive. But since that time, Enninful believes a profound shift. "I feel, we’re less accepting now than we were in the 90s," he observes. "The issue extends beyond this country – it’s worldwide."

A Cultural Backslide

This regression is hard to ignore: the resurgence of nationalist groups, the reaction against social awareness, and the reinforcement of traditional beauty standards. Where once there was the hope of the late 90s, today a different political personality looms as a possible leader. Furthermore, the Union Jack, once an badge of cultural optimism, has sparked debate once more.

In Enninful's view, the antidote has long been to celebrate culture in all its multifaceted forms. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a diverse array of prominent faces from politics.

"Those in a position of influence should employ it," he asserts, referring to those editorial decisions. "There is much discussion about immigration; I would not be in this position if Britain was not a welcoming country, if it hadn't given my family a home and an opportunity. That’s the Britain I believed in. I trust this moment will fade."

The Younger Generation's Awareness

He draws solace in the youth of today: "Their awareness is greater than we were. They discuss unconscious bias – I didn't even know what that was."

The beginnings of his career would forge a trailblazing career built on boldness and diversity. Enninful made history as the first man, first black man, first openly gay person, and first disabled Black gay man to lead at British Vogue. His time featured historic front pages showcasing models of colour, curvy models, an octogenarian, and individuals from all walks of life. Importantly, sales increased.

"To overlook large portions of the population, it’s more than that you’re excluding people – it’s a poor strategy," he states.

A New Chapter as a 'Disruptor'

He has since founded his creative company EE72 and its flagship publication, 72, his first major project since departing his former post. He says he wants to continue being a "disruptor".

"My nature is to challenge the established norms. I was born and raised in a place where Black professionals were the norm – the doctors, the attorneys, the leader. Then we arrived in England, without funds, and I became the 'other'. I was very shy. My teachers said I’d never amount to anything. Me and my brothers were stopped by the police the Sus laws … those experiences gave me a unique perspective both an insider and outsider."

Contrary to the popular image of industry figures as loud and highly strung, Enninful is calm and exudes calm. His journey has involved adversity, including publicly shared battles with mental health and substance use.

He has also undergone serious health issues, having had multiple operations on his eyes, resulting in impaired eyesight. "I experienced such a dark place for two years, away from work, terrified I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I vowed, if this ever is over, I’m just going to pursue all that I was so scared to do. I’m not going to confine myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This determination to be typecast has propelled him outside the realm that made his name. He is now curating a seminal 1990s exhibition at Tate Britain, featuring work by a group of influential artists and photographers from the era. The show, he says, aims to explore the decade's interdisciplinary energy – and highlight those who weren't given adequate attention at the time.

"Galleries didn't always promote the truly innovative creators because they weren't of the traditional credentials," he states.

This project itself functions with a unique approach, eschewing traditional advertising in favour of partnership-based projects. "We ask, what can we create collaboratively? Is it an experience, a podcast? The magazine is part of a larger creative platform."

A Testament to Resilience

Now, Enninful is regarded as one of the world's most influential cultural influencers. His journey, he feels, is a testament to the power of pursuing your passions.

How would the Edward of the 90s react to the his current self? He chuckles. "It would be a surprise, but he’d be proud. At that time I was sceptical of institutions. I never imagined institutions like Tate were within my reach."

He pauses. "Nothing is assumed. We fled, we left our homeland. I almost lost my vision. So fear isn't an option. People have counted me out my whole career. But nothing can stop me once I’ve set my intention to do something."