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

A chance encounter while riding the tube in 1988 changed forever the course of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the London's electric 1990s cultural landscape, evolving from mannequin to stylist and, by the age of 18, becoming the fashion director of the publication i-D.

"That time was the zenith of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I understood we’d be close. We all socialised across disciplines. Friday became Saturday into Sunday. I miss that rawness."

While Enninful may seem wistful, he is in good company. In recent times, a longing look back of the 1990s has grown intense. But in the intervening decades, Enninful believes a significant change. "In my view, we’re more divided now than we were in the 90s," he observes. "The issue extends beyond this country – it’s worldwide."

Shifting Attitudes

This change is difficult to overlook: the resurgence of far-right politics, the reaction against social awareness, and the reassertion of narrow beauty standards. In place of the optimism of the late 90s, now a more divisive political personality looms as a potential leader. Furthermore, the British flag, once an emblem of national pride, has become contentious again.

In Enninful's view, the solution has consistently been to promote culture in all its diversity. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a wide range of cultural icons from art.

"People with a voice should wield it," he asserts, explaining those publishing choices. "People often debate about immigration; I could not have had this life if Britain were not a welcoming country, if it did not offer my family a home and an opportunity. That’s the Britain I believed in. I hope this period will pass."

Hope in the Next Generation

He finds hope in the next generation: "Their awareness is greater than we were. They analyse implicit prejudice – I had no concept what that was."

His formative years would define a groundbreaking career characterised by boldness and representation. Enninful broke barriers as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His time featured historic front pages showcasing Black models, plus-sized women, older individuals, and individuals from all walks of life. Critically, sales grew.

"Ignoring vast segments of the population, it’s more than that you’re excluding people – it’s commercially unwise," he emphasises.

Launching a Creative Venture

He has since founded his new venture EE72 and its accompanying magazine, 72, his key endeavour since moving on from his previous role. He says he wants to continue being a "change-maker".

"My nature is to challenge the status quo. I was born and raised in a place where the majority was Black – the doctors, the attorneys, the leader. Then we came to England, without funds, and I was a minority. I was very shy. My teachers declared I’d have no future. Me and my brothers were subject to police stops the suspicion laws … those experiences gave me a dual identity both an insider and outsider."

Contrary to the caricature of industry figures as brash and temperamental, Enninful is calm and exudes calm. His journey has included its share of adversity, including openly discussed struggles with depression and substance use.

He has also undergone significant health issues, having had multiple operations on his eyes, resulting in limited vision. "I experienced such a time of fear for two years, not working, terrified I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I vowed, if this ever passes, I’m just going to pursue all that I was so scared to do. I’m not going to limit myself to just being an editor or a fashion person."

Curating a Cultural Era

This determination to fit into a box has inspired him beyond the realm that made his name. He is now organising a significant 1990s exhibition at Tate Britain, featuring work by a group of pivotal artists and photographers from the era. The show, he explains, aims to explore the decade's interdisciplinary energy – and spotlight those who lacked adequate attention at the time.

"The establishment didn't always celebrate the most relevant talents because they weren't of the expected background," he states.

This project itself uses a different approach, rejecting traditional advertising in favour of partnership-based projects. "The question is, what can we achieve in partnership? Is it an experience, a series? The magazine is part of a larger creative platform."

A Testament to Resilience

Currently, Enninful operates as one of the world's most influential creative power brokers. His path, he states, is a proof to the power of pursuing your passions.

What would the Enninful of that era think of the Edward of today? He chuckles. "He’d be in shock, but he’d be impressed. In those days I was anti-establishment. I didn't think institutions like Tate were a place for someone like me."

He pauses. "Gratitude is key. We lost our home, we fled our country. I nearly lost my vision. So fear isn't an option. People have doubted me my entire life. But I am unstoppable once I’ve decided to do something."