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

A chance encounter on the London Underground in 1988 altered the course of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was quickly drawn into the city's buzzing 1990s cultural landscape, progressing from model to stylist and, while still a teenager, becoming the style editor of the iconic i-D.

"That time was the height 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 felt we’d be close. We all socialised across disciplines. Friday bled into Saturday into Sunday. I long for that spontaneity."

While Enninful may seem wistful, he is in good company. Lately, a wistful romanticisation of the 1990s has reached fever pitch. But since that time, Enninful feels a significant change. "In my view, we’re more divided now than we were in the 90s," he says. "This isn't just this country – it’s everywhere."

A Cultural Backslide

This shift is difficult to overlook: the resurgence of far-right politics, the pushback against so-called "wokeness", and the reinforcement of traditional beauty standards. Replacing the optimism of the late 90s, today a different political figure looms as a potential leader. Furthermore, the British flag, once an symbol of Cool Britannia, has become contentious again.

For Enninful, the solution has consistently been to celebrate 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 portrait of modern Britain, featuring a diverse array of influential figures from music.

"Those in a position of influence should wield it," he says, referring to those editorial decisions. "People often debate about immigration; I could not have had this life if Britain hadn't been a lenient country, if it did not offer my family a refuge and an opportunity. That’s the Britain I always loved. I trust this moment will fade."

The Younger Generation's Awareness

He takes comfort in the next generation: "They’re much more aware than we were. They analyse implicit prejudice – I had no concept what that was."

Those early experiences would forge a trailblazing career marked by fearlessness and representation. Enninful broke barriers as the first man, first Black editor, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His leadership featured landmark covers showcasing people of diverse backgrounds, curvy models, older individuals, and people from varied communities. Critically, sales increased.

"Ignoring vast segments of the population, it’s not just that you’re not being inclusive – it’s commercially unwise," he explains.

Launching a Creative Venture

He has recently launched his new venture EE72 and its accompanying magazine, 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 raised in a place where Black professionals were the norm – the doctors, the lawyers, the president. Then we came to England, penniless, and I became the 'other'. I was painfully reserved. My teachers declared I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … all that gave me a unique perspective between worlds."

Contrary to the caricature of fashion editors as loud and highly strung, Enninful is calm and projects peace. His journey has included its share of adversity, including publicly shared periods of depression and addiction.

He has also faced serious health issues, having had multiple operations on his eyes, resulting in partial sight. "I endured such a dark place for two years, away from work, anxious 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 is over, I’m just going to do everything that I was so afraid to do. I’m not going to confine myself to just being an editor or a fashion person."

Curating a Cultural Era

This determination to be typecast has led him beyond the industry that built his career. He is now curating a major 1990s exhibition at Tate Britain, bringing together work by a roster of pivotal artists and photographers from the era. The show, he says, aims to capture the decade's interdisciplinary energy – and spotlight those who weren't given due recognition at the time.

"The establishment often failed to celebrate the most relevant talents because they did not have the right pedigree," he states.

This venture itself functions with a novel approach, forgoing traditional advertising in favour of creative collaborations. "We ask, what can we create collaboratively? Is it an experience, a podcast? The magazine is a piece within a greater ecosystem."

A Testament to Resilience

Currently, Enninful stands as one of the world's most powerful creative power brokers. His story, he believes, is a testament to the power of defying expectations.

What would the Enninful of that era react to the Edward of today? He smiles. "He’d be in shock, but he’d be impressed. At that time I was sceptical of institutions. I would not have believed institutions like Tate were necessarily for me."

He pauses. "Nothing is assumed. We were displaced, we left our homeland. I nearly lost my vision. So fear isn't an option. People have counted me out my whole career. But I am unstoppable once I’ve decided to do something."