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

An unexpected discovery while riding the tube in 1988 altered the trajectory of a teenage Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the London's buzzing 1990s artistic milieu, progressing from model to stylist and, by the age of 18, becoming the fashion director of the publication i-D.

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

If Enninful sounds wistful, he is not the only one. In recent times, a wistful romanticisation of the 1990s has become pervasive. Yet in the intervening decades, Enninful feels a significant change. "In my view, we’re less accepting now than we were in the 90s," he observes. "This isn't just this country – it’s worldwide."

A Cultural Backslide

This change is difficult to overlook: the rise of far-right politics, the pushback against so-called "wokeness", and the reinforcement of narrow beauty standards. In place of the hope of the late 90s, now a more divisive political personality looms as a potential leader. Furthermore, the Union Jack, once an emblem of Cool Britannia, has returned as a polarising symbol.

For Enninful, the response has always been to celebrate culture in all its multifaceted forms. 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 art.

"People with a voice should wield it," he comments, discussing those publishing choices. "People often debate about immigration; I could not have had this life if Britain were not a welcoming country, if it hadn't given my family a home and an education. That’s the Britain I believed in. I believe this phase will fade."

Hope in the Next Generation

He finds hope in the younger generation: "They’re much more aware than we were. They analyse unconscious bias – I was not even aware what that was."

Those early experiences would forge a groundbreaking career marked by boldness and representation. Enninful set a precedent as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His tenure featured historic front pages showcasing models of colour, curvy models, an octogenarian, and individuals from varied communities. Significantly, sales increased.

"To overlook large portions of the population, it’s not just that you’re not being inclusive – it’s a poor strategy," he explains.

Launching a Creative Venture

He has established his new venture EE72 and its accompanying magazine, 72, his key endeavour since leaving his former post. He states his aim to continue being a "disruptor".

"I constantly interrogate the conventional wisdom. I was born and raised in a place where everybody was black – the doctors, the lawyers, the president. Then we arrived in England, without funds, and I was a minority. I was very shy. My teachers predicted I’d have no future. Me and my brothers were harassed under the Sus laws … this duality gave me a sense of being on the inside and the outside."

Contrary to the stereotype of fashion editors as brash and highly strung, Enninful is softly spoken and radiates serenity. His path has involved hardship, including publicly shared periods of depression and addiction.

He has also faced serious health challenges, having had multiple operations on his eyes, now leaving him with limited vision. "I experienced such a dark place for two years, away from work, anxious I was going to lose my sight. It’s comparable to PTSD; you just exist in a state of dread 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 confine myself to just being an editor or a figure in fashion."

A Foray into Curation

This drive to be typecast has led him beyond the world that established him. He is now curating a significant 1990s exhibition at Tate Britain, bringing together work by a group of pivotal artists and photographers from the era. The show, he notes, aims to capture the decade's creative cross-pollination – and highlight those who did not receive adequate attention at the time.

"Institutions often failed to shine a light on the most relevant talents because they did not have the expected background," he states.

This project itself functions with a different business model, rejecting traditional advertising in favour of integrated partnerships. "We ask, what can we do together? Is it an experience, a podcast? The magazine is one component of a broader vision."

A Testament to Resilience

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

How would the Enninful of that era make of the man he has become? He chuckles. "It would be a surprise, but he’d be pleased. In those days I was a rebel. I didn't think institutions like Tate were within my reach."

He adds. "Gratitude is key. We fled, we left our homeland. I nearly lost my vision. So fear is not a factor. People have doubted me my whole career. But no obstacle is too great once I’ve decided to do something."