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

A serendipitous meeting while riding the tube in 1988 transformed the path of a teenage Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the city's electric 1990s creative scene, progressing from mannequin to stylist and, while still a teenager, becoming the fashion director of the iconic 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 knew we’d be great friends. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I yearn for that rawness."

While Enninful may seem sentimental, he is not the only one. Recently, a longing look back of the 1990s has grown intense. But in the intervening decades, Enninful feels a noticeable regression. "I feel, we’re more divided now than we were in the 90s," he remarks. "This isn't just this country – it’s worldwide."

Shifting Attitudes

This regression is hard to ignore: the resurgence of nationalist groups, the reaction against progressive values, and the reassertion of traditional beauty standards. Where once there was the optimism of the late 90s, today a different political personality appears as a possible leader. Even, the British flag, once an badge of cultural optimism, has returned as a polarising symbol.

According to Enninful, the solution has always been to promote culture in all its multifaceted forms. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a diverse array of influential figures from music.

"People with a voice should use it," he comments, explaining 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 refuge and an education. That’s the Britain I believed in. I hope this moment will fade."

A New Wave of Consciousness

He draws solace in the youth of today: "They’re much more aware than we were. They talk about implicit prejudice – I had no concept what that was."

Those early experiences would forge a groundbreaking career marked by fearlessness and inclusivity. Enninful made history as the first male, first Black editor, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His time featured diverse covers showcasing Black models, curvy models, older individuals, and people from varied communities. Importantly, sales grew.

"Ignoring large portions of the population, it’s not just that you’re excluding people – it’s a poor strategy," he emphasises.

Launching a Creative Venture

He has recently launched his agency EE72 and its accompanying magazine, 72, his premier initiative since leaving his previous role. He states his aim to continue being a "disruptor".

"I’ve always questioned the conventional wisdom. I was brought up in a place where everybody was black – the physicians, the lawyers, the leader. Then we came to England, penniless, and I was a minority. I was painfully reserved. My teachers declared I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … those experiences gave me a dual identity both an insider and outsider."

Contrary to the stereotype of fashion editors as loud and temperamental, Enninful is measured in tone and projects peace. His path has involved adversity, including well-documented periods of depression and addiction.

He has also faced significant health challenges, having had multiple operations on his eyes, leading to partial sight. "I experienced such a difficult period for two years, not working, fearing I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I vowed, if this ever ends, I’m just going to pursue all that I was so fearful to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This refusal to fit into a box has propelled him outside the world that established him. He is now organising a seminal 1990s exhibition at Tate Britain, bringing together work by a group of influential artists and photographers from the era. The show, he says, aims to evoke the decade's artistic collaboration – and highlight those who lacked adequate attention at the time.

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

This project itself operates on a unique approach, rejecting traditional advertising in favour of partnership-based projects. "The question is, what can we achieve in partnership? Is it an event, a series? The magazine is part of a larger creative platform."

An Unstoppable Drive

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

How would the Edward of the 90s think of the man he has become? He smiles. "It would be a surprise, but he’d be impressed. Back then I was anti-establishment. I didn't think institutions like Tate were necessarily for me."

He adds. "Gratitude is key. We were displaced, we left our homeland. I almost lost my vision. So fear isn't an option. People have doubted me my entire life. But nothing can stop me once I’ve made up my mind to do something."