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

An unexpected discovery during a tube journey in 1988 altered the path of a teenage Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the capital's electric 1990s creative scene, progressing from model to stylist and, before turning twenty, becoming the style editor of i-D magazine.

"That time was the height of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I knew we’d be kindred spirits. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I long for that rawness."

If Enninful sounds nostalgic, he is in good company. Lately, a wistful romanticisation of the 1990s has reached fever pitch. However in the intervening decades, Enninful believes a significant change. "I feel, we’re less accepting now than we were in the 90s," he observes. "It’s not even this country – it’s a global phenomenon."

A Perceived Regression

This regression is difficult to overlook: the rise of populist movements, the pushback against progressive values, and the reassertion of traditional beauty standards. Replacing the optimism of the previous decade, now a different political personality stands as a potential leader. Furthermore, the Union Jack, once an emblem of cultural optimism, has become contentious again.

According to Enninful, the response has always 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, including a wide range of cultural icons from music.

"People with a voice should use it," he asserts, referring to those publishing choices. "Everyone talks about immigration; I could not have had this life if Britain were not a open country, if it did not offer my family a refuge and an education. That’s the Britain I always loved. I believe this moment will fade."

A New Wave of Consciousness

He takes comfort in the next generation: "They are far more conscious than we were. They discuss unconscious bias – I had no concept what that was."

Those early experiences would forge a trailblazing career marked by boldness and inclusivity. Enninful broke barriers as the first man, first black man, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His tenure featured landmark covers showcasing models of colour, plus-sized women, an octogenarian, and people from all walks of life. Importantly, sales grew.

"When you ignore large portions of the population, it’s not just that you’re excluding people – it’s a poor strategy," he states.

Beyond the Magazine World

He has established his agency EE72 and its accompanying magazine, 72, his first major project since leaving his former post. He states his aim to continue being a "change-maker".

"My nature is to challenge the status quo. I was brought up in a place where everybody was black – the physicians, the attorneys, the leader. Then we arrived in England, with nothing, and I was a minority. I was incredibly timid. My teachers declared I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … this duality gave me a dual identity on the inside and the outside."

Defying the popular image of fashion editors as loud and temperamental, Enninful is calm and projects peace. His path has involved challenges, including openly discussed periods of mental health and substance use.

He has also faced serious health challenges, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I was in such a dark place for two years, away from work, anxious I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I vowed, if this ever ends, I’m just going to do everything that I was so afraid to do. I’m not going to confine myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This determination to fit into a box has inspired him away from the world that established him. He is now organising a significant 1990s exhibition at Tate Britain, featuring work by a roster of influential artists and photographers from the era. The show, he says, aims to explore the decade's interdisciplinary energy – and spotlight those who weren't given due recognition at the time.

"Institutions didn't always shine a light on the most relevant talents because they lacked the traditional credentials," he observes.

This project itself operates on a different business model, forgoing traditional advertising in favour of creative collaborations. "We ask, what can we create collaboratively? Is it an event, a podcast? The magazine is part of a larger creative platform."

Looking Forward Without Fear

Now, Enninful stands as one of the world's most powerful cultural influencers. His story, he states, is a proof to the power of pursuing your passions.

What would the Edward of the 90s think of the his current self? 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. "Nothing is assumed. We fled, we left our homeland. I came close to losing my vision. So fear isn't an option. People have underestimated me my entire life. But nothing can stop me once I’ve set my intention to do something."