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

A serendipitous meeting during a tube journey in 1988 altered the path of a teenage Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the capital's vibrant 1990s artistic milieu, moving from mannequin to stylist and, while still a teenager, becoming the fashion director of the publication i-D.

"That time was the zenith of the YBA movement – Tracey Emin, Jay Jopling. I met 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 bled into Saturday into Sunday. I miss that energy."

If Enninful sounds sentimental, he is far from alone. In recent times, a longing look back of the 1990s has grown intense. However in the intervening decades, Enninful perceives a profound shift. "I believe, we’re more divided now than we were in the 90s," he says. "It’s not even this country – it’s a global phenomenon."

A Cultural Backslide

This shift is increasingly evident: the resurgence of populist movements, the backlash against so-called "wokeness", and the return of Eurocentric beauty standards. Where once there was the hope of the previous decade, currently a more divisive political figure appears as a potential leader. Even, the Union Jack, once an badge of cultural optimism, has sparked debate once more.

For Enninful, the solution has consistently been to champion culture in all its variety. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a diverse array of cultural icons from music.

"Those in a position of influence should wield it," he asserts, explaining those editorial decisions. "Everyone talks about immigration; I would not be in this position if Britain hadn't been a welcoming 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."

A New Wave of Consciousness

He draws solace in the younger generation: "They’re much more aware than we were. They talk about unconscious bias – 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 man, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His leadership featured historic front pages showcasing people of diverse backgrounds, curvy models, an octogenarian, and people from varied communities. Significantly, sales grew.

"Ignoring huge sections of the population, it’s not just that you’re failing to represent – it’s bad for business," he states.

A New Chapter as a 'Disruptor'

He has recently launched his creative company EE72 and its flagship publication, 72, his premier initiative since leaving his former post. He expresses a desire to continue being a "innovator".

"I’ve always questioned the status quo. I was born and raised in a place where the majority was Black – the doctors, the lawyers, the leader. Then we came to England, without funds, and I became the 'other'. I was incredibly timid. My teachers declared I’d have no future. Me and my brothers were stopped by the police the Sus laws … all that gave me a sense of being both an insider and outsider."

Contrary to the caricature of fashion editors as loud and highly strung, Enninful is calm and radiates serenity. His path has not been immune to hardship, including openly discussed periods of depression and substance use.

He has also undergone significant health challenges, having had multiple operations on his eyes, leading to partial sight. "I was in such a dark place for two years, not working, fearing 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 do everything that I was so fearful to do. I’m not going to restrict myself to just being an editor or a fashion person."

Curating a Cultural Era

This refusal to be typecast has propelled him outside the realm that established him. He is now organising a seminal 1990s exhibition at Tate Britain, featuring work by a group of influential artists and photographers from the era. The show, he explains, aims to explore the decade's artistic collaboration – and give platform to those who did not receive due recognition at the time.

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

This venture itself functions with a unique business model, rejecting traditional advertising in favour of creative collaborations. "Our approach is, what can we do together? Is it an event, a series? The magazine is part of a broader vision."

A Testament to Resilience

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

What would the Edward of the 90s react to the his current self? He laughs heartily. "It would be a surprise, but he’d be pleased. At that time I was sceptical of institutions. I would not have believed institutions like Tate were necessarily for me."

He reflects. "Gratitude is key. 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 entire life. But I am unstoppable once I’ve made up my mind to do something."