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

A serendipitous meeting on the London Underground in 1988 changed forever 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, progressing from model to stylist and, while still a teenager, becoming the style editor of the iconic i-D.

"That time was the height of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I knew we’d be great friends. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I yearn for that rawness."

Although Enninful appears wistful, he is in good company. Recently, a longing look back of the 1990s has reached fever pitch. Yet in the intervening decades, Enninful believes a noticeable regression. "In my view, we’re more divided now than we were in the 90s," he observes. "It’s not even this country – it’s a global phenomenon."

A Cultural Backslide

This regression is increasingly evident: the rise of populist movements, the reaction against social awareness, and the reinforcement of narrow beauty standards. In place of the optimism of the previous decade, currently a different political force looms as a possible leader. Even, the British flag, once an symbol of national pride, has returned as a polarising symbol.

In Enninful's view, the solution has consistently been to champion culture in all its multifaceted forms. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a broad spectrum of cultural icons from art.

"Those in a position of influence should use it," he says, referring to those publishing choices. "People often debate about immigration; I would not be in this position if Britain were not a lenient country, if it refused my family a home and an education. That’s the Britain I always loved. I believe this moment will pass."

A New Wave of Consciousness

He draws solace in the youth of today: "They’re much more aware than we were. They discuss implicit prejudice – I had no concept what that was."

Those early experiences would define a trailblazing career characterised by boldness and inclusivity. Enninful set a precedent as the first male, first black man, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His time featured historic front pages showcasing people of diverse backgrounds, curvy models, an octogenarian, and individuals from all walks of life. Critically, sales rose.

"When you ignore vast segments of the population, it’s more than that you’re failing to represent – it’s a poor strategy," he emphasises.

Launching a Creative Venture

He has since founded his new venture EE72 and its accompanying magazine, 72, his key endeavour since moving on from his previous role. He expresses a desire to continue being a "change-maker".

"I’ve always questioned the conventional wisdom. I was raised in a place where the majority was Black – the doctors, the lawyers, the president. Then we arrived in England, without funds, and I was a minority. I was painfully reserved. My teachers said I’d have no future. Me and my brothers were stopped by the police the Sus laws … this duality gave me a dual identity both an insider and outsider."

In contrast to the popular image of industry figures as loud and temperamental, Enninful is softly spoken and projects peace. His journey has involved challenges, including well-documented struggles with mental health and addiction.

He has also endured significant health issues, having undergone several surgeries on his eyes, leading to limited vision. "I experienced such a difficult period for two years, away from work, anxious I was going to lose my sight. 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 pursue all that I was so afraid to do. I’m not going to restrict myself to just being an editor or a fashion person."

Curating a Cultural Era

This drive to fit into a box has led him beyond the industry that established him. He is now organising a significant 1990s exhibition at Tate Britain, bringing together work by a group of influential artists and photographers from the era. The show, he says, aims to explore the decade's interdisciplinary energy – and spotlight those who did not receive adequate attention at the time.

"The establishment sometimes neglected to celebrate the most relevant talents because they lacked the traditional credentials," he comments.

The magazine 72 itself uses a novel approach, eschewing traditional advertising in favour of integrated partnerships. "We ask, what can we achieve in partnership? Is it an experience, a podcast? The magazine is part of a larger creative platform."

An Unstoppable Drive

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

How would the Edward of the 90s react to the man he has become? He laughs heartily. "He would be astonished, but he’d be impressed. In those days I was a rebel. I would not have believed institutions like Tate were necessarily for me."

He reflects. "I never take anything for granted. We fled, we left our homeland. I nearly lost my vision. So fear is not a factor. People have doubted me my entire life. But no obstacle is too great once I’ve decided to do something."