Edward Enninful discusses Modern Britain: 'We Are Less Tolerant Now' Than in the 90s.

A serendipitous meeting on the London Underground in 1988 changed forever the path of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the London's buzzing 1990s cultural landscape, progressing from mannequin to stylist and, before turning twenty, 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 remembers. "Then I met Naomi for a cover, and I understood we’d be great friends. We all socialised across disciplines. Friday bled into Saturday into Sunday. I yearn for that spontaneity."

Although Enninful appears wistful, he is far from alone. Lately, a fond idealisation of the 1990s has become pervasive. But since that time, Enninful perceives a significant change. "I believe, we’re less tolerant now than we were in the 90s," he observes. "The issue extends beyond this country – it’s everywhere."

A Perceived Regression

This change is difficult to overlook: the rise of nationalist groups, the reaction against progressive values, and the reassertion of narrow beauty standards. In place of the optimism of the previous decade, now a more divisive political force stands as a potential leader. Even, the Union Jack, once an emblem of national pride, has become contentious again.

According to Enninful, the response 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, showcasing a wide range of influential figures from politics.

"Those in a position of influence should use it," he comments, referring to those editorial decisions. "There is much discussion about immigration; I could not have had this life if Britain hadn't been a lenient country, if it did not offer my family a home and an opportunity. That’s the Britain I believed in. I believe this period will fade."

Hope in the Next Generation

He takes comfort in the youth of today: "Their awareness is greater than we were. They talk about unconscious bias – I didn't even know what that was."

Those early experiences would forge a pioneering career built on fearlessness and representation. Enninful set a precedent as the first male, first black man, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His time featured diverse covers showcasing Black models, plus-sized women, an octogenarian, and individuals from all walks of life. Importantly, sales increased.

"Ignoring vast segments of the population, it’s more than that you’re excluding people – it’s bad for business," he states.

Launching a Creative Venture

He has established his new venture EE72 and its accompanying magazine, 72, his premier initiative since moving on from his previous role. He states his aim to continue being a "disruptor".

"I’ve always questioned the conventional wisdom. I was brought up in a place where the majority was Black – the doctors, the attorneys, the leader. Then we came to England, with nothing, and I became the 'other'. I was incredibly timid. My teachers declared I’d have no future. Me and my brothers were stopped by the police the suspicion laws … those experiences gave me a dual identity on the inside and the outside."

Defying the popular image of fashion editors as loud and highly strung, Enninful is calm and projects peace. His life has not been immune to adversity, including publicly shared periods of depression and addiction.

He has also endured significant health challenges, having undergone several surgeries on his eyes, resulting in limited vision. "I was in such a dark place for two years, not working, terrified I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I vowed, if this ever ends, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to confine myself to just being an editor or a fashion person."

Curating a Cultural Era

This drive to be defined narrowly has led him away from the industry that established him. He is now putting together a significant 1990s exhibition at Tate Britain, bringing together work by a host of pivotal artists and photographers from the era. The show, he explains, aims to evoke the decade's artistic collaboration – and spotlight those who weren't given due recognition at the time.

"The establishment sometimes neglected to shine a light on the most relevant talents because they weren't of the traditional credentials," he observes.

This project itself functions with a unique business model, rejecting traditional advertising in favour of creative collaborations. "The question is, what can we achieve in partnership? Is it an event, a podcast? The magazine is a piece within a broader vision."

Looking Forward Without Fear

Now, Enninful stands as one of the world's most respected industry leaders. His path, he feels, is a proof to the power of following your instincts.

How would the Edward of the 90s think of the Edward of today? He laughs heartily. "It would be a surprise, but he’d be pleased. Back then I was sceptical of institutions. I would not have believed institutions like Tate were within my reach."

He adds. "Nothing is assumed. We were displaced, we left our homeland. I almost lost my vision. So there is no room for fear. People have doubted me my entire life. But nothing can stop me once I’ve set my intention to do something."