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

A chance encounter during a tube journey in 1988 changed forever the path of a teenage Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the city's electric 1990s creative scene, evolving from model to stylist and, by the age of 18, becoming the fashion director of the iconic i-D.

"That time was the zenith 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 knew we’d be great friends. We all mixed across disciplines. Friday bled into Saturday into Sunday. I long for that energy."

While Enninful may seem wistful, he is far from alone. In recent times, a fond idealisation of the 1990s has grown intense. Yet over the last thirty years, Enninful believes a profound shift. "In my view, we’re less tolerant now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s everywhere."

A Cultural Backslide

This change is difficult to overlook: the resurgence of far-right politics, the pushback against so-called "wokeness", and the return of Eurocentric beauty standards. In place of the optimism of the late 90s, now a more divisive political personality appears as a potential leader. Furthermore, the Union Jack, once an emblem of Cool Britannia, has become contentious again.

In Enninful's view, the antidote has consistently been to promote 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 diverse array of prominent faces from politics.

"People with a voice should wield it," he says, explaining those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain was not a open country, if it hadn't given my family a home and an education. That’s the Britain I cherished. I hope this phase will end."

The Younger Generation's Awareness

He draws solace in the younger generation: "Their awareness is greater than we were. They analyse unconscious bias – I didn't even know what that was."

Those early experiences would shape a pioneering career marked by boldness and representation. Enninful set a precedent as the first man, 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 models of colour, plus-sized women, an octogenarian, and individuals from varied communities. Critically, sales grew.

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

Launching a Creative Venture

He has recently launched his creative company EE72 and its accompanying magazine, 72, his key endeavour since leaving his former post. He says he wants to continue being a "disruptor".

"My nature is to challenge the status quo. I was brought up in a place where the majority was Black – the doctors, the lawyers, the president. Then we arrived in England, without funds, and I became the 'other'. I was very shy. My teachers said I’d have no future. Me and my brothers were subject to police stops the Sus laws … those experiences gave me a sense of being both an insider and outsider."

Defying the popular image of fashion editors as brash and temperamental, Enninful is calm and radiates serenity. His journey has included its share of challenges, including openly discussed periods of mental health and substance use.

He has also faced serious health issues, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I experienced such a difficult period for two years, away from work, fearing I was going to go blind. It’s similar to 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 afraid to do. I’m not going to limit myself to just being an editor or a figure in fashion."

A Foray into Curation

This refusal to be defined narrowly has led him beyond the realm that established him. He is now curating a major 1990s exhibition at Tate Britain, bringing together work by a group of defining artists and photographers from the era. The show, he notes, aims to evoke the decade's interdisciplinary energy – and highlight those who did not receive adequate attention at the time.

"Galleries didn't always promote the most relevant talents because they did not have the right pedigree," he comments.

This venture itself uses a novel approach, rejecting traditional advertising in favour of partnership-based projects. "Our approach is, what can we achieve in partnership? Is it an event, a series? The magazine is part of a greater ecosystem."

A Testament to Resilience

Currently, Enninful operates as one of the world's most powerful creative power brokers. His journey, he feels, is a testament to the power of following your instincts.

What would the Edward of the 90s think of the his current self? He laughs heartily. "He would be astonished, but he’d be proud. Back then I was anti-establishment. I would not have believed 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 fear isn't an option. People have counted me out my whole career. But I am unstoppable once I’ve made up my mind to do something."