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

A serendipitous meeting on the London Underground in 1988 changed forever the path of a teenage Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was quickly drawn into the capital's electric 1990s cultural landscape, progressing from model to stylist and, before turning twenty, becoming the style editor of the publication i-D.

"That era was the peak of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I knew we’d be kindred spirits. We all mixed across disciplines. Friday bled into Saturday into Sunday. I long for that energy."

Although Enninful appears wistful, he is far from alone. Recently, a longing look back of the 1990s has reached fever pitch. Yet in the intervening decades, Enninful believes a profound shift. "I believe, we’re less accepting now than we were in the 90s," he remarks. "This isn't just this country – it’s worldwide."

A Cultural Backslide

This regression is hard to ignore: the rise of far-right politics, the reaction against social awareness, and the reinforcement of narrow beauty standards. Replacing the optimism of the previous decade, now a more divisive political personality appears as a possible leader. Furthermore, the Union Jack, once an badge of Cool Britannia, has sparked debate once more.

For Enninful, the solution has long been to promote culture in all its variety. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a broad spectrum of prominent faces from music.

"People with a voice should employ it," he comments, explaining those editorial decisions. "People often debate about immigration; I wouldn't be here if Britain were not a lenient country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I cherished. I believe 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 didn't even know what that was."

Those early experiences would define a pioneering career characterised by fearlessness and representation. Enninful broke barriers as the first male, first black man, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His leadership featured historic front pages showcasing models of colour, curvy models, older individuals, and individuals from all walks of life. Importantly, sales grew.

"To overlook huge sections of the population, it’s not just that you’re failing to represent – it’s a poor strategy," he explains.

Launching a Creative Venture

He has since founded his creative company EE72 and its flagship publication, 72, his first major project since departing his former post. He says he wants to continue being a "innovator".

"My nature is to challenge the established norms. I was born and raised in a place where the majority was Black – the physicians, the lawyers, the leader. Then we came to England, with nothing, and I became the 'other'. I was painfully reserved. My teachers predicted I’d never amount to anything. Me and my brothers were stopped by the police the Sus laws … this duality gave me a sense of being between worlds."

Defying the caricature of fashion editors as loud and highly strung, Enninful is measured in tone and exudes calm. His life has included its share of adversity, including openly discussed struggles with mental health and addiction.

He has also undergone serious health challenges, having undergone several surgeries on his eyes, leading to limited vision. "I endured such a difficult period for two years, not working, anxious I was going to go blind. It’s comparable to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever is over, I’m just going to pursue all that I was so fearful to do. I’m not going to confine myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This refusal to be defined narrowly has led him away from the realm that established him. He is now putting together a significant 1990s exhibition at Tate Britain, showcasing work by a host of pivotal artists and photographers from the era. The show, he explains, aims to capture the decade's interdisciplinary energy – and spotlight those who weren't given a spotlight at the time.

"The establishment often failed to celebrate the most relevant talents because they did not have the traditional credentials," he observes.

This venture itself uses a unique approach, forgoing traditional advertising in favour of creative collaborations. "The question is, what can we achieve in partnership? Is it an experience, a podcast? The magazine is part of a broader vision."

Looking Forward Without Fear

Now, Enninful is regarded as one of the world's most influential industry leaders. His journey, he believes, is a proof to the power of following your instincts.

How would the Edward of the 90s think of the his current self? He laughs heartily. "It would be a surprise, but he’d be impressed. In those days I was a rebel. I would not have believed institutions like Tate were within my reach."

He reflects. "I never take anything for granted. We lost our home, we left our homeland. I almost lost my vision. So fear isn't an option. People have counted me out my entire life. But no obstacle is too great once I’ve decided to do something."