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

An unexpected discovery during a tube journey in 1988 altered the course of a teenage Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the capital's vibrant 1990s cultural landscape, moving from model to stylist and, while still a teenager, becoming the style editor of the publication i-D.

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

Although Enninful appears sentimental, he is in good company. Lately, a longing look back of the 1990s has reached fever pitch. But since that time, Enninful believes a profound shift. "I believe, we’re more divided now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s worldwide."

Shifting Attitudes

This regression is difficult to overlook: the growth of far-right politics, the reaction against progressive values, and the return of narrow beauty standards. Replacing the optimism of the previous decade, now a different political force appears as a possible leader. Even, the Union Jack, once an symbol of national pride, has returned as a polarising symbol.

In Enninful's view, the antidote has consistently been to promote culture in all its diversity. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a broad spectrum of influential figures from politics.

"Those in a position of influence should use it," he asserts, explaining 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 refuge and an opportunity. That’s the Britain I cherished. I trust this period will end."

Hope in the Next Generation

He finds hope in the next generation: "Their awareness is greater than we were. They analyse implicit prejudice – I was not even aware what that was."

Those early experiences would define a groundbreaking career built on boldness and representation. Enninful set a precedent as the first male, first black man, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His tenure featured landmark covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and people from all walks of life. Significantly, sales rose.

"To overlook vast segments of the population, it’s not just that you’re excluding people – it’s commercially unwise," he emphasises.

Beyond the Magazine World

He has since founded his creative company EE72 and its flagship publication, 72, his key endeavour since departing his previous role. He says he wants to continue being a "innovator".

"My nature is to challenge the status quo. I was born and raised in a place where Black professionals were the norm – the physicians, the attorneys, the leader. Then we came to England, penniless, and I became the 'other'. I was painfully reserved. My teachers predicted I’d have no future. Me and my brothers were harassed under the suspicion laws … all that gave me a unique perspective both an insider and outsider."

Defying the caricature of industry figures as loud and temperamental, Enninful is softly spoken and exudes calm. His journey has involved adversity, including publicly shared periods of depression and substance use.

He has also undergone serious health issues, having had multiple operations on his eyes, resulting in impaired eyesight. "I endured such a difficult period for two years, away from work, anxious I was going to lose my sight. It’s comparable to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever passes, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to confine myself to just being an editor or a figure in fashion."

A Foray into Curation

This determination to fit into a box has inspired him beyond the realm that built his career. He is now putting together a major 1990s exhibition at Tate Britain, showcasing work by a roster of influential artists and photographers from the era. The show, he explains, aims to evoke the decade's artistic collaboration – and spotlight those who weren't given adequate attention at the time.

"Institutions sometimes neglected to promote the truly innovative creators because they lacked the right pedigree," he states.

This project itself operates on a unique approach, forgoing traditional advertising in favour of integrated partnerships. "We ask, what can we create collaboratively? Is it an experience, a podcast? The magazine is one component of a broader vision."

An Unstoppable Drive

Now, Enninful stands as one of the world's most influential creative power brokers. His journey, he believes, is a proof to the power of pursuing your passions.

How would the younger Edward make of the man he has become? He smiles. "It would be a surprise, but he’d be proud. In those days I was anti-establishment. I never imagined institutions like Tate were necessarily for me."

He reflects. "I never take anything for granted. We were displaced, we left our homeland. I almost lost my vision. So fear isn't an option. People have counted me out my whole career. But I am unstoppable once I’ve set my intention to do something."