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

A serendipitous meeting during a tube journey in 1988 changed forever the trajectory of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the city's buzzing 1990s cultural landscape, progressing from model to stylist and, while still a teenager, becoming the style editor of the iconic i-D.

"It was the height of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I knew we’d be kindred spirits. We all hung out across disciplines. Friday bled into Saturday into Sunday. I yearn for that rawness."

Although Enninful appears wistful, he is not the only one. Recently, a wistful romanticisation of the 1990s has reached fever pitch. However since that time, Enninful perceives a profound shift. "I believe, we’re more divided now than we were in the 90s," he observes. "This isn't just this country – it’s worldwide."

A Cultural Backslide

This shift is difficult to overlook: the growth of populist movements, the backlash against so-called "wokeness", and the return of traditional beauty standards. In place of the hope of the Blair era, now a more divisive political personality stands as a possible leader. Even, the Union Jack, once an symbol of cultural optimism, has returned as a polarising symbol.

In Enninful's view, the response has consistently been to celebrate culture in all its diversity. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a diverse array of prominent faces from politics.

"Individuals with a platform should wield it," he asserts, referring to those publishing choices. "People often debate about immigration; I wouldn't be here if Britain was not a welcoming country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I always loved. I believe this period will fade."

A New Wave of Consciousness

He finds hope in the younger generation: "They are far more conscious than we were. They talk about unconscious bias – I didn't even know what that was."

Those early experiences would shape a trailblazing career marked by fearlessness and representation. Enninful set a precedent as the first man, first Black editor, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His leadership featured diverse covers showcasing Black models, plus-sized women, an octogenarian, and people from all walks of life. Importantly, sales grew.

"To overlook vast segments of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he states.

Beyond the Magazine World

He has since founded his creative company EE72 and its accompanying magazine, 72, his first major project since moving on from his former post. He states his aim to continue being a "disruptor".

"I’ve always questioned the status quo. I was brought up in a place where the majority was Black – the doctors, the attorneys, the leader. Then we came to England, penniless, and I found myself on the margins. I was painfully reserved. My teachers said I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … this duality gave me a unique perspective between worlds."

Defying the popular image of fashion editors as brash and temperamental, Enninful is calm and exudes calm. His life has not been immune to hardship, including well-documented struggles with mental health and addiction.

He has also undergone significant health issues, having had multiple operations on his eyes, now leaving him with impaired eyesight. "I was in such a dark place for two years, away from work, fearing I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever is over, 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."

Curating a Cultural Era

This determination to be typecast has inspired him beyond the world that established him. He is now curating a significant 1990s exhibition at Tate Britain, featuring work by a host of defining artists and photographers from the era. The show, he says, aims to capture the decade's creative cross-pollination – and spotlight those who lacked adequate attention at the time.

"The establishment sometimes neglected to shine a light on the truly innovative creators because they lacked the traditional credentials," he states.

This project itself uses a novel strategy, forgoing traditional advertising in favour of integrated partnerships. "The question is, what can we do together? Is it an event, a series? The magazine is one component of a larger creative platform."

An Unstoppable Drive

Now, Enninful operates as one of the world's most powerful industry leaders. His story, he states, is a demonstration to the power of defying expectations.

How would the Edward of the 90s react to the his current self? He laughs heartily. "He’d be in shock, but he’d be pleased. At that time I was a rebel. I never imagined institutions like Tate were necessarily for me."

He adds. "Nothing is assumed. We lost our home, we left our homeland. I almost lost my vision. So fear is not a factor. People have counted me out my whole career. But no obstacle is too great once I’ve set my intention to do something."