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

An unexpected discovery during a tube journey in 1988 altered the trajectory of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the London's buzzing 1990s cultural landscape, moving from model to stylist and, before turning twenty, becoming the style editor of i-D magazine.

"That time was the zenith of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I felt we’d be great friends. We all hung out across disciplines. Friday bled into Saturday into Sunday. I long for that energy."

If Enninful sounds sentimental, he is far from alone. Recently, a wistful romanticisation of the 1990s has grown intense. However since that time, Enninful feels a noticeable regression. "I feel, we’re more divided now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s worldwide."

A Cultural Backslide

This shift is increasingly evident: the rise of far-right politics, the reaction against progressive values, and the reassertion of Eurocentric beauty standards. Where once there was the optimism of the Blair era, currently a more divisive political personality looms as a possible leader. Furthermore, the Union Jack, once an emblem of cultural optimism, has sparked debate once more.

For Enninful, the antidote has consistently been to champion culture in all its variety. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a wide range of prominent faces from literature.

"Individuals with a platform should employ it," he says, discussing those editorial decisions. "There is much discussion about immigration; I could not have had this life if Britain hadn't been a open country, if it hadn't given my family a refuge and an education. That’s the Britain I always loved. I trust this period will end."

Hope in the Next Generation

He takes comfort in the next generation: "They’re much more aware than we were. They discuss unconscious bias – I had no concept what that was."

His formative years would forge a trailblazing career characterised by fearlessness and inclusivity. Enninful made history as the first male, first black man, first openly gay person, and first disabled Black gay man to lead at British Vogue. His time featured diverse covers showcasing models of colour, plus-sized women, older individuals, and people from varied communities. Critically, sales grew.

"Ignoring huge sections of the population, it’s more than that you’re not being inclusive – it’s a poor strategy," he states.

Launching a Creative Venture

He has recently launched his agency EE72 and its accompanying magazine, 72, his premier initiative since departing his former post. He states his aim to continue being a "innovator".

"I’ve always questioned the conventional wisdom. I was brought up in a place where Black professionals were the norm – the doctors, the lawyers, the leader. Then we came to England, penniless, and I was a minority. I was incredibly timid. My teachers declared I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … those experiences gave me a sense of being on the inside and the outside."

Defying the stereotype of fashion editors as loud and highly strung, Enninful is softly spoken and projects peace. His path has involved hardship, including openly discussed battles with depression and substance use.

He has also endured serious health challenges, having had multiple operations on his eyes, now leaving him with limited vision. "I experienced such a difficult period for two years, not working, anxious I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I prayed, if this ever ends, I’m just going to do everything that I was so scared to do. I’m not going to limit myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This refusal to fit into a box has led him beyond the world that made his name. He is now putting together a major 1990s exhibition at Tate Britain, featuring work by a host of influential artists and photographers from the era. The show, he says, aims to evoke the decade's creative cross-pollination – and highlight those who lacked a spotlight at the time.

"Institutions sometimes neglected to promote the truly innovative creators because they did not have the traditional credentials," he comments.

The magazine 72 itself operates on a novel approach, forgoing traditional advertising in favour of partnership-based projects. "Our approach is, what can we do together? Is it an event, a series? The magazine is a piece within a larger creative platform."

A Testament to Resilience

Today, Enninful operates as one of the world's most powerful cultural influencers. His journey, he believes, is a testament to the power of defying expectations.

How would the Enninful of that era think of the man he has become? He laughs heartily. "He would be astonished, but he’d be proud. Back then I was sceptical of institutions. I never imagined institutions like Tate were a place for someone like me."

He pauses. "Nothing is assumed. We lost our home, we fled our country. I came close to losing my vision. So there is no room for fear. People have underestimated me my whole career. But nothing can stop me once I’ve made up my mind to do something."