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

A chance encounter while riding the tube in 1988 changed forever the trajectory of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the capital's vibrant 1990s cultural landscape, progressing from mannequin to stylist and, by the age of 18, becoming the style editor of the publication i-D.

"That era was the height of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I knew we’d be close. We all mixed across disciplines. Friday became Saturday into Sunday. I yearn for that rawness."

If Enninful sounds nostalgic, he is not the only one. In recent times, a longing look back of the 1990s has become pervasive. However since that time, Enninful believes a profound shift. "I believe, we’re more divided now than we were in the 90s," he says. "The issue extends beyond this country – it’s worldwide."

A Perceived Regression

This shift is difficult to overlook: the growth of far-right politics, the pushback against social awareness, and the return of narrow beauty standards. In place of the hope of the late 90s, currently a more divisive political figure appears as a possible leader. Furthermore, the Union Jack, once an badge of Cool Britannia, has become contentious again.

In Enninful's view, the response has consistently been to promote culture in all its multifaceted forms. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a wide range of influential figures from politics.

"People with a voice should employ it," he asserts, explaining those editorial decisions. "People often debate about immigration; I could not have had this life if Britain hadn't been a lenient country, if it did not offer my family a refuge and an education. That’s the Britain I cherished. I hope this moment will fade."

Hope in the Next Generation

He takes comfort in the next generation: "They are far more conscious than we were. They talk about implicit prejudice – I had no concept what that was."

His formative years would forge a pioneering career built on fearlessness and diversity. Enninful made history as the first male, first Black editor, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His leadership featured landmark covers showcasing people of diverse backgrounds, curvy models, an octogenarian, and people from varied communities. Critically, sales grew.

"To overlook vast segments of the population, it’s not just that you’re not being inclusive – it’s a poor strategy," he states.

Beyond the Magazine World

He has recently launched 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 "disruptor".

"I constantly interrogate the conventional wisdom. I was brought up in a place where Black professionals were the norm – the doctors, the attorneys, the president. Then we arrived in England, without funds, and I became the 'other'. I was incredibly timid. My teachers declared I’d achieve nothing. Me and my brothers were harassed under the Sus laws … this duality gave me a sense of being between worlds."

In contrast to the popular image of fashion editors as loud and highly strung, Enninful is calm and projects peace. His life has not been immune to adversity, including openly discussed struggles with mental health and substance use.

He has also undergone significant health issues, having had multiple operations 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 similar to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever ends, I’m just going to pursue all that I was so afraid to do. I’m not going to limit myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This drive to fit into a box has inspired him away from the industry that built his career. He is now organising a seminal 1990s exhibition at Tate Britain, showcasing work by a host of influential artists and photographers from the era. The show, he notes, aims to explore the decade's creative cross-pollination – and spotlight those who weren't given due recognition at the time.

"Galleries sometimes neglected to shine a light on the right artists because they lacked the right pedigree," he observes.

The magazine 72 itself uses a different business model, rejecting traditional advertising in favour of creative collaborations. "We ask, what can we achieve in partnership? Is it an experience, a series? The magazine is one component of a broader vision."

A Testament to Resilience

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

What would the Edward of the 90s make of the his current self? He smiles. "It would be a surprise, but he’d be pleased. In those days I was sceptical of institutions. I didn't think institutions like Tate were within my reach."

He pauses. "Nothing is assumed. We fled, we left our homeland. I nearly lost my vision. So fear is not a factor. People have doubted me my entire life. But no obstacle is too great once I’ve set my intention to do something."