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

A serendipitous meeting on the London Underground in 1988 altered the path of a young Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the London's electric 1990s artistic milieu, evolving from mannequin to stylist and, by the age of 18, becoming the fashion director of the iconic i-D.

"That era was the zenith of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I felt we’d be close. We all socialised across disciplines. Friday bled into 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. Yet since that time, Enninful perceives a significant change. "I feel, we’re less accepting now than we were in the 90s," he remarks. "This isn't just this country – it’s everywhere."

A Perceived Regression

This change is hard to ignore: the rise of nationalist groups, the reaction against social awareness, and the reassertion of narrow beauty standards. Replacing the hope of the late 90s, now a different political figure looms as a potential leader. Furthermore, the British flag, once an emblem of cultural optimism, has sparked debate once more.

According to Enninful, the antidote has always been to promote culture in all its variety. 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 music.

"Individuals with a platform should employ it," he says, discussing 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 home and an education. That’s the Britain I always loved. I hope this moment will fade."

The Younger Generation's Awareness

He draws solace in the younger generation: "Their awareness is greater than we were. They talk about unconscious bias – I was not even aware what that was."

His formative years would forge a pioneering career characterised by boldness and inclusivity. Enninful set a precedent as the first male, first black man, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His leadership featured diverse covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and people from varied communities. Importantly, sales rose.

"When you ignore vast segments of the population, it’s not just that you’re excluding people – it’s bad for business," he emphasises.

Launching a Creative Venture

He has recently launched his agency EE72 and its accompanying magazine, 72, his premier initiative since leaving his former post. He states his aim to continue being a "disruptor".

"My nature is to challenge the status quo. I was raised in a place where Black professionals were the norm – the doctors, the lawyers, the president. Then we came to England, with nothing, and I became the 'other'. I was painfully reserved. My teachers said I’d achieve nothing. Me and my brothers were harassed under the Sus laws … this duality gave me a unique perspective between worlds."

In contrast to the caricature of fashion editors as brash and highly strung, Enninful is softly spoken and exudes calm. His journey has not been immune to challenges, including publicly shared struggles with mental health and substance use.

He has also faced serious health challenges, having had multiple operations on his eyes, leading to limited vision. "I endured 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 exist in a state of dread 24/7. I vowed, if this ever ends, 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 figure in fashion."

A Foray into Curation

This determination to be defined narrowly has inspired him outside the world that established him. He is now organising a major 1990s exhibition at Tate Britain, bringing together work by a host of influential artists and photographers from the era. The show, he says, aims to evoke the decade's artistic collaboration – and give platform to those who did not receive a spotlight at the time.

"Galleries sometimes neglected to celebrate the right artists because they did not have the right pedigree," he states.

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

An Unstoppable Drive

Now, Enninful is regarded as one of the world's most powerful cultural influencers. His journey, he believes, is a demonstration to the power of defying expectations.

How would the Edward of the 90s think of the Edward of today? He chuckles. "He would be astonished, but he’d be pleased. At that time I was a rebel. I didn't think institutions like Tate were necessarily for me."

He pauses. "Gratitude is key. 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 nothing can stop me once I’ve made up my mind to do something."