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

A serendipitous meeting during a tube journey in 1988 transformed the trajectory of a teenage Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the city's buzzing 1990s artistic milieu, progressing from mannequin to stylist and, while still a teenager, becoming the fashion director of the publication i-D.

"That time was the peak of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I felt we’d be close. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I long for that spontaneity."

While Enninful may seem nostalgic, he is far from alone. In recent times, a longing look back of the 1990s has become pervasive. However since that time, Enninful believes a significant change. "I feel, we’re less accepting now than we were in the 90s," he observes. "This isn't just this country – it’s worldwide."

A Cultural Backslide

This change is difficult to overlook: the rise of populist movements, the reaction against social awareness, and the reinforcement of traditional beauty standards. Where once there was the hope of the previous decade, today a different political figure appears as a possible leader. Even, the British flag, once an badge of national pride, has become contentious again.

In Enninful's view, the solution 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 celebration of modern Britain, including a broad spectrum of prominent faces from art.

"People with a voice should use it," he says, referring to those publishing choices. "Everyone talks about immigration; I could not have had this life if Britain were not a welcoming country, if it did not offer my family a home and an education. That’s the Britain I believed in. I trust this period will end."

A New Wave of Consciousness

He draws solace in the youth of today: "They are far more conscious than we were. They talk about systemic issues – I had no concept what that was."

The beginnings of his career would define a trailblazing career built on boldness and diversity. 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 Black models, curvy models, an octogenarian, and individuals from varied communities. Importantly, sales increased.

"Ignoring vast segments of the population, it’s more than that you’re excluding people – it’s bad for business," he emphasises.

Launching a Creative Venture

He has recently launched his creative company EE72 and its accompanying magazine, 72, his first major project since departing his previous role. He says he wants to continue being a "innovator".

"My nature is to challenge the conventional wisdom. I was brought up in a place where everybody was black – the doctors, the lawyers, the president. Then we arrived in England, with nothing, and I found myself on the margins. I was incredibly timid. My teachers declared I’d never amount to anything. Me and my brothers were harassed under the suspicion laws … all that gave me a unique perspective both an insider and outsider."

In contrast to the stereotype of industry figures as brash and highly strung, Enninful is softly spoken and exudes calm. His life has included its share of hardship, including well-documented periods of mental health and substance use.

He has also undergone significant health issues, having had multiple operations on his eyes, leading to impaired eyesight. "I was in such a difficult period for two years, not working, anxious I was going to lose my sight. It’s comparable to PTSD; you just exist in a state of dread 24/7. I thought, if this ever is over, I’m just going to pursue all that I was so afraid to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This drive to be defined narrowly has led him away from the realm that established him. He is now curating a significant 1990s exhibition at Tate Britain, bringing together work by a host of influential artists and photographers from the era. The show, he explains, aims to capture the decade's artistic collaboration – and spotlight those who weren't given due recognition at the time.

"Institutions often failed to celebrate the most relevant talents because they lacked the traditional credentials," he observes.

This project itself operates on a novel strategy, rejecting traditional advertising in favour of creative collaborations. "Our approach is, what can we create collaboratively? Is it an event, a series? The magazine is part of a larger creative platform."

Looking Forward Without Fear

Today, Enninful stands as one of the world's most influential creative power brokers. His story, he believes, is a proof to the power of defying expectations.

How would the Enninful of that era make of the man he has become? He laughs heartily. "It would be a surprise, but he’d be impressed. At that time I was anti-establishment. I never imagined institutions like Tate were a place for someone like me."

He reflects. "Gratitude is key. We lost our home, we fled our country. I nearly lost my vision. So there is no room for fear. People have counted me out my whole career. But no obstacle is too great once I’ve decided to do something."