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

An unexpected discovery on the London Underground in 1988 transformed the trajectory of a young Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the capital's buzzing 1990s cultural landscape, evolving from mannequin to stylist and, before turning twenty, becoming the fashion director of the publication i-D.

"It was the height 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 understood we’d be kindred spirits. We all mixed across disciplines. Friday bled into Saturday into Sunday. I long for that energy."

Although Enninful appears nostalgic, he is not the only one. Recently, a fond idealisation of the 1990s has grown intense. Yet over the last thirty years, Enninful perceives a significant change. "I feel, we’re less accepting now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s a global phenomenon."

Shifting Attitudes

This shift is difficult to overlook: the resurgence of populist movements, the backlash against progressive values, and the reassertion of Eurocentric beauty standards. Replacing the hope of the late 90s, now a different political force appears as a possible leader. Even, the Union Jack, once an emblem of Cool Britannia, has sparked debate once more.

In Enninful's view, the antidote has consistently been to celebrate culture in all its diversity. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a wide range of cultural icons from literature.

"Those in a position of influence should wield it," he asserts, discussing those editorial decisions. "People often debate about immigration; I wouldn't be here if Britain were not a lenient country, if it refused my family a refuge and an opportunity. That’s the Britain I cherished. I believe this moment will fade."

The Younger Generation's Awareness

He finds hope in the next generation: "They’re much more aware than we were. They analyse systemic issues – I didn't even know what that was."

Those early experiences would shape a groundbreaking career marked by fearlessness and diversity. Enninful broke barriers as the first man, first black man, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His leadership featured historic front pages showcasing people of diverse backgrounds, curvy models, older individuals, and people from all walks of life. Critically, sales grew.

"Ignoring huge sections of the population, it’s more than that you’re excluding people – it’s bad for business," he emphasises.

A New Chapter as a 'Disruptor'

He has recently launched his creative company EE72 and its accompanying magazine, 72, his premier initiative since leaving his former post. He says he wants to continue being a "innovator".

"I constantly interrogate the established norms. I was raised in a place where everybody was black – the physicians, the lawyers, the leader. Then we arrived in England, penniless, and I was a minority. I was very shy. My teachers said I’d never amount to anything. Me and my brothers were subject to police stops the Sus laws … all that gave me a sense of being both an insider and outsider."

In contrast to the popular image of fashion editors as brash and highly strung, Enninful is softly spoken and exudes calm. His life has involved adversity, including publicly shared periods of depression and substance use.

He has also endured serious health issues, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I endured such a dark place for two years, away from work, terrified I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I vowed, 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 figure in fashion."

A Foray into Curation

This determination to be typecast has inspired him away from the world that built his career. He is now putting together a major 1990s exhibition at Tate Britain, featuring work by a host of defining artists and photographers from the era. The show, he notes, aims to capture the decade's creative cross-pollination – and give platform to those who did not receive due recognition at the time.

"Galleries often failed to celebrate the truly innovative creators because they did not have the expected background," he observes.

This project itself operates on a different strategy, eschewing traditional advertising in favour of creative collaborations. "The question is, what can we create collaboratively? Is it an event, a podcast? The magazine is a piece within a greater ecosystem."

An Unstoppable Drive

Now, Enninful is regarded as one of the world's most influential cultural influencers. His journey, he feels, is a demonstration to the power of following your instincts.

What would the Enninful of that era think of the his current self? He chuckles. "He would be astonished, but he’d be proud. Back then I was anti-establishment. I didn't think institutions like Tate were within my reach."

He adds. "I never take anything for granted. We were displaced, we fled our country. I nearly lost my vision. So there is no room for fear. People have counted me out my whole career. But I am unstoppable once I’ve decided to do something."