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

An unexpected discovery during a tube journey in 1988 altered the trajectory of a teenage Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the London's electric 1990s creative scene, moving from model to stylist and, before turning twenty, becoming the fashion director of the iconic i-D.

"It was the height of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I felt we’d be great friends. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I miss that spontaneity."

While Enninful may seem wistful, he is not the only one. In recent times, a longing look back of the 1990s has become pervasive. However over the last thirty years, Enninful perceives a profound shift. "I believe, we’re more divided now than we were in the 90s," he remarks. "This isn't just this country – it’s everywhere."

A Perceived Regression

This regression is difficult to overlook: the rise of nationalist groups, the reaction against progressive values, and the reassertion of narrow beauty standards. Replacing the optimism of the Blair era, currently a different political force stands as a potential leader. Even, the British flag, once an badge of Cool Britannia, has returned as a polarising symbol.

For Enninful, the response has always been to celebrate culture in all its multifaceted forms. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a diverse array of influential figures from art.

"Individuals with a platform should use it," he comments, discussing those editorial decisions. "Everyone talks about immigration; I would not be in this position if Britain hadn't been a welcoming country, if it refused my family a home and an education. That’s the Britain I cherished. I believe this period will fade."

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 was not even aware what that was."

His formative years would shape a pioneering career built on boldness and inclusivity. Enninful broke barriers 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 Black models, curvy models, older individuals, and individuals from all walks of life. Significantly, sales increased.

"When you ignore huge sections of the population, it’s more than that you’re not being inclusive – it’s bad for business," he states.

Launching a Creative Venture

He has established his agency EE72 and its accompanying magazine, 72, his first major project since leaving his previous role. He states his aim to continue being a "disruptor".

"I’ve always questioned the established norms. I was raised in a place where Black professionals were the norm – the physicians, the attorneys, the president. Then we came to England, with nothing, and I became the 'other'. I was incredibly timid. My teachers declared I’d have no future. Me and my brothers were harassed under the suspicion laws … all that gave me a dual identity between worlds."

In contrast to the caricature of fashion editors as loud and temperamental, Enninful is calm and projects peace. His journey has involved hardship, including openly discussed periods of mental health and addiction.

He has also undergone serious health challenges, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I was in such a dark place for two years, away from work, terrified I was going to go blind. 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 do everything 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 determination to be defined narrowly has inspired him beyond the industry that established him. He is now putting together a significant 1990s exhibition at Tate Britain, showcasing work by a host of defining artists and photographers from the era. The show, he explains, aims to capture the decade's artistic collaboration – and highlight those who lacked adequate attention at the time.

"The establishment didn't always shine a light on the truly innovative creators because they did not have the traditional credentials," he comments.

The magazine 72 itself uses a different strategy, rejecting traditional advertising in favour of integrated partnerships. "We ask, what can we create collaboratively? Is it an experience, a podcast? The magazine is a piece within a greater ecosystem."

A Testament to Resilience

Now, Enninful operates as one of the world's most respected creative power brokers. His journey, he believes, is a proof to the power of defying expectations.

What would the Enninful of that era think of the his current self? He smiles. "He would be astonished, but he’d be impressed. At that time I was sceptical of institutions. I never imagined institutions like Tate were necessarily for me."

He adds. "I never take anything for granted. We lost our home, we left our homeland. I nearly lost my vision. So fear isn't an option. People have counted me out my entire life. But no obstacle is too great once I’ve set my intention to do something."