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

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

"That time was the peak of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I knew we’d be close. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I yearn for that spontaneity."

While Enninful may seem wistful, he is not the only one. Recently, a longing look back of the 1990s has grown intense. Yet over the last thirty years, Enninful feels a profound shift. "I feel, we’re more divided now than we were in the 90s," he says. "It’s not even this country – it’s a global phenomenon."

Shifting Attitudes

This regression is hard to ignore: the growth of far-right politics, the backlash against so-called "wokeness", and the return of Eurocentric beauty standards. Where once there was the optimism of the late 90s, currently a different political personality appears as a potential leader. Even, the Union Jack, once an emblem of cultural optimism, has sparked debate once more.

According to Enninful, the antidote has consistently been to promote culture in all its diversity. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a broad spectrum of influential figures from art.

"Individuals with a platform should use it," he comments, discussing those editorial decisions. "People often debate about immigration; I could not have had this life if Britain was not a open country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I cherished. I believe this moment will pass."

The Younger Generation's Awareness

He takes comfort in the younger generation: "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 marked by fearlessness and inclusivity. Enninful set a precedent as the first man, first black man, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His time featured historic front pages showcasing Black models, curvy models, an octogenarian, and individuals from all walks of life. Significantly, sales increased.

"Ignoring huge sections of the population, it’s more than that you’re not being inclusive – it’s bad for business," he explains.

Beyond the Magazine World

He has recently launched his new venture 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 constantly interrogate the status quo. I was brought up in a place where everybody was black – the doctors, the attorneys, the president. Then we came to England, with nothing, and I found myself on the margins. I was very shy. My teachers said I’d have no future. Me and my brothers were stopped by the police the suspicion laws … those experiences gave me a unique perspective between worlds."

In contrast to the stereotype of industry figures as brash and highly strung, Enninful is measured in tone and projects peace. His path has involved challenges, including openly discussed struggles with mental health and substance use.

He has also undergone significant health challenges, having had multiple operations on his eyes, resulting in limited vision. "I experienced such a difficult period for two years, not working, fearing I was going to lose my sight. It’s comparable to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever passes, 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."

A Foray into Curation

This determination to be defined narrowly has propelled him away from the world that made his name. He is now curating a seminal 1990s exhibition at Tate Britain, featuring work by a group of defining artists and photographers from the era. The show, he says, aims to evoke the decade's artistic collaboration – and highlight those who did not receive a spotlight at the time.

"Institutions often failed to promote the most relevant talents because they lacked the traditional credentials," he states.

This venture itself uses a novel business model, eschewing traditional advertising in favour of integrated partnerships. "We ask, what can we do together? Is it an experience, a podcast? The magazine is a piece within a greater ecosystem."

A Testament to Resilience

Now, Enninful operates as one of the world's most respected creative power brokers. His story, he feels, is a testament to the power of defying expectations.

How would the Edward of the 90s react to the Edward of today? He smiles. "He would be astonished, but he’d be impressed. Back then I was a rebel. I would not have believed institutions like Tate were a place for someone like me."

He reflects. "I never take anything for granted. We were displaced, we left our homeland. I came close to losing my vision. So fear is not a factor. People have underestimated me my whole career. But nothing can stop me once I’ve made up my mind to do something."