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

An unexpected discovery while riding the tube in 1988 changed forever the trajectory of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the London's buzzing 1990s cultural landscape, progressing from mannequin to stylist and, while still a teenager, becoming the fashion director of i-D magazine.

"It was the zenith of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I felt we’d be great friends. We all hung out across disciplines. Friday bled into Saturday into Sunday. I long for that rawness."

If Enninful sounds nostalgic, he is not the only one. Recently, a fond idealisation of the 1990s has grown intense. Yet in the intervening decades, Enninful perceives a profound shift. "I feel, we’re less accepting now than we were in the 90s," he observes. "It’s not even this country – it’s everywhere."

Shifting Attitudes

This shift is difficult to overlook: the growth of nationalist groups, the reaction against progressive values, and the return of narrow beauty standards. In place of the optimism of the previous decade, today a different political personality appears as a potential leader. Even, the British flag, once an badge of national pride, has become contentious again.

For Enninful, the response has long been to celebrate 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 portrait of modern Britain, showcasing a diverse array of influential figures from art.

"Individuals with a platform should employ it," he asserts, referring to those editorial decisions. "People often debate about immigration; I wouldn't be here if Britain hadn't been a welcoming country, if it hadn't given 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 draws solace in the youth of today: "Their awareness is greater than we were. They analyse implicit prejudice – I had no concept what that was."

The beginnings of his career would shape a pioneering career marked by boldness and representation. Enninful made history as the first male, first Black editor, first gay man, and first disabled Black gay man to lead at British Vogue. His time featured diverse covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and individuals from varied communities. Critically, sales grew.

"When you ignore huge sections of the population, it’s more than that you’re excluding people – it’s a poor strategy," he explains.

Launching a Creative Venture

He has since founded his creative company EE72 and its flagship publication, 72, his premier initiative since departing his former post. He states his aim to continue being a "change-maker".

"I constantly interrogate the established norms. I was born and raised in a place where the majority was Black – the physicians, the lawyers, the leader. Then we arrived in England, without funds, and I found myself on the margins. I was very shy. My teachers said I’d have no future. Me and my brothers were subject to police stops the suspicion laws … this duality gave me a sense of being between worlds."

Defying the popular image of industry figures as loud and highly strung, Enninful is calm and radiates serenity. His life has included its share of challenges, including publicly shared battles with depression and addiction.

He has also undergone significant health challenges, having had multiple operations on his eyes, leading to partial sight. "I was in such a dark place for two years, away from work, fearing I was going to go blind. It’s like PTSD; you just live in fear 24/7. I prayed, if this ever passes, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This refusal to fit into a box has propelled him beyond the industry that established him. He is now curating a significant 1990s exhibition at Tate Britain, bringing together work by a group of pivotal artists and photographers from the era. The show, he explains, aims to evoke the decade's interdisciplinary energy – and give platform to those who did not receive adequate attention at the time.

"Galleries sometimes neglected to shine a light on the right artists because they did not have the traditional credentials," he states.

This venture itself functions with a unique strategy, eschewing traditional advertising in favour of integrated partnerships. "We ask, what can we create collaboratively? Is it an event, a series? The magazine is a piece within a broader vision."

Looking Forward Without Fear

Currently, Enninful operates as one of the world's most respected cultural influencers. His story, he feels, is a testament to the power of following your instincts.

What would the Edward of the 90s think of the man he has become? He chuckles. "He’d be in shock, but he’d be proud. Back then I was a rebel. I never imagined institutions like Tate were necessarily for me."

He pauses. "Gratitude is key. We lost our home, we left our homeland. I came close to losing my vision. So there is no room for fear. People have underestimated me my entire life. But nothing can stop me once I’ve decided to do something."