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

An unexpected discovery during a tube journey in 1988 altered the trajectory of a teenage Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the city's buzzing 1990s cultural landscape, moving from mannequin to stylist and, by the age of 18, becoming the style editor of the publication i-D.

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

Although Enninful appears nostalgic, he is not the only one. In recent times, a wistful romanticisation of the 1990s has become pervasive. Yet over the last thirty years, Enninful perceives a significant change. "I believe, we’re more divided 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 far-right politics, the backlash against so-called "wokeness", and the return of traditional beauty standards. Where once there was the optimism of the previous decade, currently a more divisive political force appears as a possible leader. Even, the British flag, once an symbol of Cool Britannia, has become contentious again.

For Enninful, the solution has always been to celebrate culture in all its variety. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a broad spectrum of prominent faces from literature.

"People with a voice should use it," he asserts, explaining those publishing choices. "There is much discussion about immigration; I would not be in this position if Britain hadn't been a lenient country, if it refused my family a home and an opportunity. That’s the Britain I believed in. I believe this phase will end."

A New Wave of Consciousness

He draws solace in the youth of today: "Their awareness is greater than we were. They analyse unconscious bias – I was not even aware what that was."

Those early experiences would shape a groundbreaking career characterised 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 take the helm at British Vogue. His time featured diverse covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and people from varied communities. Importantly, sales increased.

"To overlook huge sections of the population, it’s more than that you’re excluding people – it’s bad for business," he emphasises.

Beyond the Magazine World

He has recently launched his new venture EE72 and its flagship publication, 72, his premier initiative since moving on from his previous role. He expresses a desire to continue being a "disruptor".

"I’ve always questioned the status quo. I was 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 harassed under the suspicion laws … all that gave me a dual identity on the inside and the outside."

In contrast to the caricature of fashion editors as brash and temperamental, Enninful is softly spoken and exudes calm. His life has included its share of adversity, including well-documented battles with mental health and addiction.

He has also undergone significant health issues, having had multiple operations on his eyes, resulting in partial sight. "I endured such a dark place for two years, not working, terrified I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I vowed, if this ever is over, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to confine myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This determination to fit into a box has propelled him away from the realm that built his career. He is now putting together a major 1990s exhibition at Tate Britain, bringing together work by a group of defining artists and photographers from the era. The show, he says, aims to capture the decade's interdisciplinary energy – and spotlight those who lacked due recognition at the time.

"The establishment sometimes neglected to promote the most relevant talents because they lacked the traditional credentials," he observes.

This project itself functions with a unique business model, forgoing 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 a piece within a broader vision."

Looking Forward Without Fear

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

How would the Enninful of that era think of the his current self? He smiles. "It would be a surprise, but he’d be impressed. Back then I was a rebel. I didn't think institutions like Tate were within my reach."

He adds. "Gratitude is key. We fled, we fled our country. I almost lost my vision. So there is no room for fear. People have doubted me my entire life. But nothing can stop me once I’ve decided to do something."