Edward Enninful discusses Modern Britain: 'A Decline in Tolerance' Than in the 90s.

A serendipitous meeting during a tube journey in 1988 transformed the course of a young Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the capital's buzzing 1990s cultural landscape, evolving from mannequin to stylist and, by the age of 18, becoming the fashion director of the publication i-D.

"It was the height of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I felt we’d be great friends. We all mixed across disciplines. Friday became Saturday into Sunday. I miss that energy."

While Enninful may seem wistful, he is far from alone. In recent times, a longing look back of the 1990s has grown intense. However since that time, Enninful feels a profound shift. "I feel, we’re less accepting now than we were in the 90s," he observes. "This isn't just this country – it’s everywhere."

A Perceived Regression

This regression is hard to ignore: the rise of populist movements, the reaction against progressive values, and the return of narrow beauty standards. Where once there was the hope of the Blair era, today a different political figure stands as a potential leader. Furthermore, the British flag, once an symbol of national pride, has sparked debate once more.

For Enninful, the response has long been to promote culture in all its multifaceted forms. 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 wide range of cultural icons from literature.

"Individuals with a platform should employ it," he says, referring to those editorial decisions. "There is much discussion about immigration; I wouldn't be here if Britain was not a lenient country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I cherished. I trust this period will pass."

The Younger Generation's Awareness

He takes comfort in the younger generation: "They’re much more aware than we were. They discuss implicit prejudice – I was not even aware what that was."

The beginnings of his career would define a trailblazing career marked by fearlessness and diversity. Enninful made history as the first male, first black man, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His tenure featured diverse covers showcasing Black models, curvy models, older individuals, and people from varied communities. Importantly, sales rose.

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

Beyond the Magazine World

He has established his new venture EE72 and its flagship publication, 72, his first major project since moving on from his previous role. He expresses a desire to continue being a "innovator".

"I constantly interrogate the conventional wisdom. I was brought up in a place where the majority was Black – the physicians, the lawyers, the leader. Then we came to England, without funds, and I became the 'other'. I was incredibly timid. My teachers declared I’d have no future. Me and my brothers were subject to police stops the suspicion laws … this duality gave me a dual identity on the inside and the outside."

In contrast to the caricature of fashion editors as loud and temperamental, Enninful is softly spoken and exudes calm. His life has included its share of hardship, including openly discussed periods of mental health and substance use.

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

A Foray into Curation

This drive to be typecast has led him outside the industry that established him. He is now putting together a major 1990s exhibition at Tate Britain, showcasing work by a roster of defining artists and photographers from the era. The show, he notes, aims to capture the decade's creative cross-pollination – and highlight those who weren't given adequate attention at the time.

"The establishment sometimes neglected to celebrate the most relevant talents because they did not have the traditional credentials," he comments.

This venture itself uses a different strategy, eschewing traditional advertising in favour of integrated partnerships. "We ask, what can we achieve in partnership? Is it an event, a series? The magazine is one component of a broader vision."

An Unstoppable Drive

Now, Enninful is regarded as one of the world's most influential cultural influencers. His journey, he believes, is a testament to the power of pursuing your passions.

How would the younger Edward think of the his current self? He chuckles. "He’d be in shock, but he’d be pleased. Back then I was sceptical of institutions. I didn't think institutions like Tate were a place for someone like me."

He pauses. "I never take anything for granted. We were displaced, we fled our country. I came close to losing my vision. So there is no room for fear. People have underestimated me my entire life. But I am unstoppable once I’ve set my intention to do something."