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

A chance encounter on the London Underground in 1988 transformed the path of a young Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the London's buzzing 1990s cultural landscape, evolving from mannequin to stylist and, before turning twenty, becoming the style editor of the publication i-D.

"That era was the zenith of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I felt we’d be great friends. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I miss that spontaneity."

If Enninful sounds nostalgic, he is in good company. Recently, a longing look back of the 1990s has grown intense. However since that time, Enninful feels a significant change. "I feel, we’re more divided now than we were in the 90s," he observes. "This isn't just this country – it’s worldwide."

A Cultural Backslide

This regression is hard to ignore: the rise of populist movements, the backlash against so-called "wokeness", and the reinforcement of traditional beauty standards. In place of the hope of the Blair era, now a different political personality appears as a potential leader. Furthermore, the British flag, once an symbol of Cool Britannia, has sparked debate once more.

According to Enninful, the solution has long been to promote culture in all its diversity. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a diverse array of influential figures from politics.

"Those in a position of influence should use it," he says, referring to those publishing choices. "There is much discussion about immigration; I could not have had this life if Britain was not a lenient country, if it did not offer my family a home and an education. That’s the Britain I always loved. I trust this phase will end."

The Younger Generation's Awareness

He finds hope in the younger generation: "Their awareness is greater than we were. They discuss systemic issues – I didn't even know what that was."

The beginnings of his career would forge a pioneering career characterised by fearlessness and inclusivity. Enninful set a precedent as the first male, first Black editor, first gay man, and first disabled Black gay man to lead at British Vogue. His tenure featured landmark covers showcasing people of diverse backgrounds, curvy models, older individuals, and people from all walks of life. Importantly, sales rose.

"To overlook large portions 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 established his new venture EE72 and its accompanying magazine, 72, his premier initiative since departing his former post. He states his aim to continue being a "innovator".

"My nature is to challenge the conventional wisdom. I was brought up in a place where everybody was black – the physicians, the attorneys, the leader. Then we came to England, with nothing, and I became the 'other'. I was painfully reserved. My teachers declared I’d never amount to anything. Me and my brothers were stopped by the police the Sus laws … this duality gave me a sense of being both an insider and outsider."

Defying the stereotype of fashion editors as brash and highly strung, Enninful is softly spoken and radiates serenity. His path has involved challenges, including well-documented struggles with depression and addiction.

He has also faced serious health challenges, having had multiple operations on his eyes, resulting in impaired eyesight. "I was in such a dark place for two years, away from work, anxious I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I thought, if this ever ends, I’m just going to do everything that I was so fearful to do. I’m not going to restrict myself to just being an editor or a fashion person."

A Foray into Curation

This drive to fit into a box has propelled him beyond the world that made his name. He is now curating a significant 1990s exhibition at Tate Britain, bringing together work by a host of influential artists and photographers from the era. The show, he explains, aims to explore the decade's creative cross-pollination – and spotlight those who lacked due recognition at the time.

"Institutions sometimes neglected to shine a light on the truly innovative creators because they did not have the expected background," he comments.

The magazine 72 itself functions with a novel business model, eschewing traditional advertising in favour of creative collaborations. "The question is, what can we do together? Is it an event, a series? The magazine is a piece within a greater ecosystem."

Looking Forward Without Fear

Currently, Enninful stands as one of the world's most respected industry leaders. His story, he feels, is a demonstration to the power of pursuing your passions.

How would the Edward of the 90s make of the his current self? He laughs heartily. "He would be astonished, but he’d be proud. Back then I was anti-establishment. I never imagined institutions like Tate were a place for someone like me."

He reflects. "Gratitude is key. We lost our home, we fled our country. I nearly lost my vision. So there is no room for fear. People have underestimated me my entire life. But no obstacle is too great once I’ve decided to do something."