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

A chance encounter on the London Underground in 1988 transformed the course of a young Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the capital's buzzing 1990s artistic milieu, moving from mannequin to stylist and, before turning twenty, becoming the style editor of the publication i-D.

"That era was the zenith of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I knew we’d be kindred spirits. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I miss that rawness."

Although Enninful appears wistful, he is in good company. Lately, a longing look back of the 1990s has reached fever pitch. However in the intervening decades, Enninful perceives a significant change. "I believe, we’re less accepting now than we were in the 90s," he observes. "It’s not even this country – it’s worldwide."

A Cultural Backslide

This regression is increasingly evident: the rise of populist movements, the backlash against so-called "wokeness", and the return of narrow beauty standards. Replacing the optimism of the Blair era, today a different political personality appears as a potential leader. Even, the Union Jack, once an emblem of cultural optimism, has sparked debate once more.

In Enninful's view, the response has consistently been to promote culture in all its variety. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a wide range of cultural icons from music.

"People with a voice should employ it," he asserts, referring to 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 home and an education. That’s the Britain I always loved. I trust this phase will end."

The Younger Generation's Awareness

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

The beginnings of his career would forge a trailblazing career characterised by boldness and inclusivity. Enninful broke barriers as the first male, first Black editor, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His tenure featured historic front pages showcasing models of colour, plus-sized women, an octogenarian, and individuals from varied communities. Critically, sales increased.

"Ignoring vast segments of the population, it’s more than that you’re failing to represent – it’s a poor strategy," he explains.

Launching a Creative Venture

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

"I’ve always questioned the status quo. I was brought up in a place where the majority was Black – the physicians, the attorneys, the leader. Then we arrived in England, with nothing, and I became the 'other'. I was very shy. My teachers predicted I’d never amount to anything. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a unique perspective between worlds."

Defying the stereotype of fashion editors as brash and highly strung, Enninful is calm and radiates serenity. His life has involved challenges, including publicly shared periods of depression and addiction.

He has also undergone significant health issues, having undergone several surgeries on his eyes, now leaving him with partial sight. "I was in such a difficult period for two years, not working, 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 passes, I’m just going to do everything that I was so scared to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This determination to be defined narrowly has propelled him outside the realm that made his name. He is now organising a major 1990s exhibition at Tate Britain, featuring work by a roster of defining artists and photographers from the era. The show, he says, aims to explore the decade's interdisciplinary energy – and spotlight those who did not receive a spotlight at the time.

"Galleries often failed to celebrate the right artists because they lacked the expected background," he states.

This project itself operates on a different business model, forgoing traditional advertising in favour of partnership-based projects. "The question is, what can we do together? Is it an event, a podcast? The magazine is a piece within a broader vision."

A Testament to Resilience

Today, Enninful is regarded as one of the world's most influential cultural influencers. His story, he states, is a proof to the power of following your instincts.

What would the younger Edward make of the Edward of today? He smiles. "It would be a surprise, but he’d be proud. At that time I was sceptical of institutions. I would not have believed institutions like Tate were within my reach."

He reflects. "Gratitude is key. We were displaced, we left our homeland. I came close to losing my vision. So there is no room for fear. People have counted me out my entire life. But nothing can stop me once I’ve decided to do something."