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

An unexpected discovery while riding the tube in 1988 transformed the course of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the London's vibrant 1990s creative scene, evolving from model to stylist and, before turning twenty, becoming the fashion director of the iconic i-D.

"That era was the peak of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I understood we’d be kindred spirits. We all hung out across disciplines. Friday bled into Saturday into Sunday. I long for that spontaneity."

Although Enninful appears nostalgic, he is in good company. Lately, a longing look back of the 1990s has grown intense. But in the intervening decades, Enninful feels a profound shift. "I feel, we’re less accepting now than we were in the 90s," he observes. "The issue extends beyond this country – it’s everywhere."

A Perceived Regression

This regression is hard to ignore: the rise of populist movements, the pushback against progressive values, and the reinforcement of traditional beauty standards. Replacing the optimism of the Blair era, currently a more divisive political figure stands as a potential leader. Even, the British flag, once an emblem of national pride, has sparked debate once more.

For Enninful, the response has consistently been to champion culture in all its multifaceted forms. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a wide range of prominent faces from literature.

"People with a voice should wield it," he comments, explaining those publishing choices. "Everyone talks about immigration; I would not be in this position if Britain hadn't been a lenient country, if it refused my family a home and an opportunity. That’s the Britain I believed in. I trust this moment will fade."

A New Wave of Consciousness

He draws solace in the youth of today: "Their awareness is greater than we were. They analyse unconscious bias – I had no concept what that was."

Those early experiences would define a groundbreaking career marked by fearlessness and inclusivity. Enninful set a precedent as the first man, first black man, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His tenure featured diverse covers showcasing Black models, curvy models, older individuals, and people from varied communities. Significantly, sales rose.

"To overlook large portions of the population, it’s more than that you’re excluding people – it’s a poor strategy," he emphasises.

Beyond the Magazine World

He has established his new venture EE72 and its flagship publication, 72, his first major project since departing his former post. He expresses a desire to continue being a "change-maker".

"I’ve always questioned the established norms. I was brought up in a place where Black professionals were the norm – the doctors, the lawyers, the president. Then we came to England, penniless, and I found myself on the margins. I was incredibly timid. My teachers declared I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … this duality gave me a unique perspective on the inside and the outside."

In contrast to the popular image of industry figures as brash and temperamental, Enninful is calm and projects peace. His path has included its share of hardship, including publicly shared struggles with depression and substance use.

He has also endured significant health challenges, having undergone several surgeries on his eyes, now leaving him with limited vision. "I experienced such a dark place for two years, not working, anxious I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I thought, if this ever ends, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to limit myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This drive to be defined narrowly has propelled him beyond the realm that established him. He is now organising a seminal 1990s exhibition at Tate Britain, bringing together 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 spotlight those who did not receive a spotlight at the time.

"The establishment sometimes neglected to shine a light on the right artists because they lacked the expected background," he comments.

The magazine 72 itself operates on a unique strategy, forgoing traditional advertising in favour of creative collaborations. "Our approach is, what can we create collaboratively? Is it an experience, a series? The magazine is part of a greater ecosystem."

A Testament to Resilience

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

How would the younger Edward react to the his current self? He chuckles. "It would be a surprise, but he’d be pleased. Back then I was sceptical of institutions. I never imagined institutions like Tate were necessarily for me."

He adds. "Gratitude is key. We lost our home, we fled our country. I almost lost my vision. So fear isn't an option. People have doubted me my entire life. But I am unstoppable once I’ve made up my mind to do something."