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

A chance encounter while riding the tube in 1988 transformed the path of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the capital's buzzing 1990s creative scene, progressing from mannequin to stylist and, while still a teenager, becoming the style editor of the iconic i-D.

"That era was the height of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I understood we’d be great friends. We all mixed across disciplines. Friday bled into Saturday into Sunday. I yearn for that energy."

While Enninful may seem wistful, he is not the only one. Recently, a longing look back of the 1990s has grown intense. But over the last thirty years, Enninful feels a significant change. "In my view, we’re more divided now than we were in the 90s," he says. "The issue extends beyond this country – it’s everywhere."

A Cultural Backslide

This shift is difficult to overlook: the rise of nationalist groups, the pushback against progressive values, and the reassertion of traditional beauty standards. Where once there was the hope of the late 90s, currently a different political force appears as a possible leader. Furthermore, the British flag, once an badge of Cool Britannia, has sparked debate once more.

In Enninful's view, the solution has long been to promote culture in all its multifaceted forms. 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 prominent faces from literature.

"Individuals with a platform should wield it," he comments, referring to those editorial decisions. "There is much discussion about immigration; I wouldn't be here if Britain hadn't been a welcoming country, if it refused my family a home and an education. That’s the Britain I cherished. I hope this phase will fade."

A New Wave of Consciousness

He draws solace in the youth of today: "They are far more conscious than we were. They talk about systemic issues – I had no concept what that was."

His formative years would forge a groundbreaking career marked by boldness and inclusivity. Enninful set a precedent as the first man, first Black editor, first gay man, and first disabled Black gay man to lead at British Vogue. His time featured historic front pages showcasing Black models, curvy models, older individuals, and people from all walks of life. Critically, sales increased.

"When you ignore vast segments of the population, it’s more than 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 premier initiative since departing his previous role. He expresses a desire to continue being a "disruptor".

"I’ve always questioned the established norms. I was raised in a place where the majority was Black – the physicians, the lawyers, the leader. Then we arrived in England, with nothing, and I became the 'other'. I was very shy. My teachers said I’d never amount to anything. Me and my brothers were harassed under the Sus laws … this duality gave me a unique perspective between worlds."

Contrary to the caricature of fashion editors as loud and highly strung, Enninful is calm and projects peace. His journey has involved hardship, including openly discussed struggles with depression and substance use.

He has also faced serious health issues, having had multiple operations on his eyes, leading to partial sight. "I experienced such a difficult period for two years, not working, anxious I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I thought, if this ever is over, I’m just going to do everything that I was so afraid to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

A Foray into Curation

This drive to be typecast has propelled him beyond the world that made his name. He is now putting together a significant 1990s exhibition at Tate Britain, showcasing work by a group of defining artists and photographers from the era. The show, he says, aims to evoke the decade's artistic collaboration – and give platform to those who lacked due recognition at the time.

"Institutions often failed to promote the right artists because they lacked the right pedigree," he comments.

This venture itself functions with a unique business model, eschewing traditional advertising in favour of creative collaborations. "The question is, what can we do together? Is it an event, a series? The magazine is part of a greater ecosystem."

Looking Forward Without Fear

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

What would the Edward of the 90s react to the Edward of today? He smiles. "It would be a surprise, but he’d be proud. In those days I was sceptical of institutions. I would not have believed institutions like Tate were necessarily for me."

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