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 arrival to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the London's buzzing 1990s artistic milieu, moving from model to stylist and, by the age of 18, becoming the fashion director of the iconic i-D.

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

If Enninful sounds nostalgic, he is far from alone. Recently, a longing look back of the 1990s has become pervasive. Yet over the last thirty years, Enninful believes a significant change. "In my view, we’re less tolerant now than we were in the 90s," he remarks. "This isn't just this country – it’s worldwide."

A Perceived Regression

This regression is increasingly evident: the growth of nationalist groups, the backlash against progressive values, and the reinforcement of narrow beauty standards. Replacing the optimism of the Blair era, today a different political figure stands as a potential leader. Even, the Union Jack, once an badge of cultural optimism, has become contentious again.

In Enninful's view, the solution has consistently been to promote culture in all its multifaceted forms. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a broad spectrum of cultural icons from music.

"Those in a position of influence should wield it," he comments, referring to those editorial decisions. "Everyone talks 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 education. That’s the Britain I always loved. I hope this period will end."

A New Wave of Consciousness

He finds hope in the younger generation: "They’re much more aware than we were. They analyse unconscious bias – I had no concept what that was."

His formative years would shape a groundbreaking career built on fearlessness and representation. Enninful set a precedent as the first male, first Black editor, first gay man, and first disabled gay man of colour to lead at British Vogue. His leadership featured diverse covers showcasing models of colour, curvy models, older individuals, and individuals from all walks of life. Importantly, sales increased.

"When you ignore huge sections of the population, it’s more than that you’re not being inclusive – it’s commercially unwise," he explains.

Beyond the Magazine World

He has established his agency EE72 and its accompanying magazine, 72, his premier initiative since moving on from his previous role. He states his aim to continue being a "disruptor".

"My nature is to challenge the established norms. I was born and raised in a place where everybody was black – the physicians, the lawyers, the president. Then we arrived in England, without funds, and I became the 'other'. I was incredibly timid. My teachers predicted I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … this duality gave me a sense of being on the inside and the outside."

Contrary to the stereotype of industry figures as brash and highly strung, Enninful is softly spoken and exudes calm. His path has involved adversity, including publicly shared periods of mental health and substance use.

He has also endured significant health challenges, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I endured such a difficult period for two years, away from work, terrified I was going to go blind. It’s like PTSD; you just live in fear 24/7. I thought, if this ever ends, I’m just going to pursue all that I was so scared to do. I’m not going to confine myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This determination to fit into a box has inspired him outside the world that built his career. He is now curating a seminal 1990s exhibition at Tate Britain, showcasing work by a host of defining artists and photographers from the era. The show, he says, aims to evoke the decade's creative cross-pollination – and spotlight those who did not receive a spotlight at the time.

"The establishment often failed to promote the truly innovative creators because they lacked the expected background," he observes.

This project itself operates on a different strategy, forgoing traditional advertising in favour of integrated partnerships. "The question is, what can we do together? Is it an experience, a series? The magazine is one component of a greater ecosystem."

Looking Forward Without Fear

Now, Enninful is regarded as one of the world's most powerful creative power brokers. His story, he feels, is a demonstration to the power of following your instincts.

How would the Edward of the 90s react to the man he has become? He chuckles. "He’d be in shock, but he’d be pleased. Back then I was sceptical of institutions. I never imagined institutions like Tate were a place for someone like me."

He adds. "Nothing is assumed. We were displaced, we fled our country. I almost lost my vision. So fear isn't an option. People have doubted me my whole career. But no obstacle is too great once I’ve decided to do something."