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

A chance encounter during a tube journey in 1988 changed forever the path of a young Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the capital's vibrant 1990s artistic milieu, evolving from mannequin to stylist and, by the age of 18, becoming the fashion director of i-D magazine.

"That era was the zenith of the Young British Artists – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I understood we’d be close. We all socialised across disciplines. Friday became Saturday into Sunday. I long for that rawness."

While Enninful may seem wistful, he is not the only one. Recently, a wistful romanticisation of the 1990s has reached fever pitch. But in the intervening decades, Enninful perceives a significant change. "In my view, we’re more divided now than we were in the 90s," he observes. "It’s not even this country – it’s worldwide."

Shifting Attitudes

This shift is hard to ignore: the growth of nationalist groups, the pushback against so-called "wokeness", and the return of traditional beauty standards. In place of the hope of the Blair era, now a more divisive political force stands as a potential leader. Even, the British flag, once an badge of cultural optimism, has become contentious again.

According to Enninful, the response has consistently been to promote culture in all its variety. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a broad spectrum of prominent faces from literature.

"People with a voice should use it," he says, discussing those editorial decisions. "There is much discussion about immigration; I could not have had this life if Britain were not a welcoming country, if it hadn't given my family a refuge and an education. That’s the Britain I cherished. I trust this phase will fade."

A New Wave of Consciousness

He takes comfort in the next generation: "Their awareness is greater than we were. They talk about unconscious bias – I was not even aware what that was."

His formative years would define a groundbreaking career marked by boldness and representation. Enninful broke barriers as the first man, first Black editor, first gay man, and first disabled Black gay man to take the helm at British Vogue. His leadership featured landmark covers showcasing Black models, plus-sized women, older individuals, and people from varied communities. Importantly, sales increased.

"Ignoring vast segments of the population, it’s not just that you’re excluding people – it’s a poor strategy," he states.

Launching a Creative Venture

He has established his creative company EE72 and its accompanying magazine, 72, his premier initiative since leaving his former post. He states his aim to continue being a "change-maker".

"I’ve always questioned the conventional wisdom. I was raised in a place where the majority was Black – the doctors, the lawyers, the president. Then we arrived in England, with nothing, and I became the 'other'. I was very shy. My teachers said I’d never amount to anything. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a dual identity on the inside and the outside."

Defying the caricature of fashion editors as brash and temperamental, Enninful is measured in tone and exudes calm. His life has not been immune to adversity, including well-documented periods of depression and addiction.

He has also endured serious health challenges, having had multiple operations on his eyes, now leaving him with partial sight. "I endured such a difficult period for two years, away from work, anxious I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I thought, if this ever passes, I’m just going to pursue all that I was so scared to do. I’m not going to restrict myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This refusal to be defined narrowly has inspired him outside the realm that established him. He is now putting together a significant 1990s exhibition at Tate Britain, bringing together work by a group of influential artists and photographers from the era. The show, he notes, aims to evoke the decade's creative cross-pollination – and highlight those who weren't given adequate attention at the time.

"Institutions often failed to celebrate the truly innovative creators because they did not have the traditional credentials," he states.

This venture itself functions with a different strategy, forgoing traditional advertising in favour of creative collaborations. "Our approach is, what can we create collaboratively? Is it an event, a podcast? The magazine is part of a greater ecosystem."

A Testament to Resilience

Today, Enninful is regarded as one of the world's most powerful cultural influencers. His path, he states, is a proof to the power of pursuing your passions.

What would the Edward of the 90s react to the Edward of today? He laughs heartily. "He would be astonished, but he’d be impressed. In those days I was anti-establishment. I didn't think institutions like Tate were within my reach."

He reflects. "I never take anything for granted. We lost our home, we fled our country. I came close to losing my vision. So fear isn't an option. People have underestimated me my whole career. But nothing can stop me once I’ve made up my mind to do something."