Edward Enninful discusses Modern Britain: 'A Decline in Tolerance' Than in the 90s.

An unexpected discovery during a tube journey in 1988 altered the trajectory of a teenage Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the London's electric 1990s cultural landscape, progressing from model to stylist and, by the age of 18, becoming the fashion director of the publication i-D.

"It was the peak of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I felt we’d be close. We all hung out across disciplines. Friday bled into Saturday into Sunday. I miss that spontaneity."

Although Enninful appears nostalgic, he is far from alone. Lately, a longing look back of the 1990s has become pervasive. But since that time, Enninful believes a profound shift. "I believe, 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 difficult to overlook: the rise of nationalist groups, the reaction against social awareness, and the reinforcement of traditional beauty standards. In place of the optimism of the late 90s, currently a more divisive political force stands as a potential leader. Even, the British flag, once an emblem of Cool Britannia, has sparked debate once more.

According to Enninful, the response has consistently been to celebrate culture in all its multifaceted forms. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a diverse array of influential figures from politics.

"Individuals with a platform should use it," he comments, referring to those editorial decisions. "Everyone talks about immigration; I would not be in this position if Britain hadn't been a lenient country, if it hadn't given my family a refuge and an education. That’s the Britain I always loved. I trust this phase will pass."

Hope in the Next Generation

He takes comfort in the younger generation: "They are far more conscious than we were. They talk about implicit prejudice – I was not even aware what that was."

The beginnings of his career would define a pioneering career marked by fearlessness and inclusivity. Enninful made history as the first man, first black man, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His tenure featured historic front pages showcasing people of diverse backgrounds, curvy models, an octogenarian, and individuals from varied communities. Critically, sales rose.

"When you ignore vast segments of the population, it’s not just that you’re failing to represent – it’s bad for business," he explains.

A New Chapter as a 'Disruptor'

He has since founded his new venture EE72 and its flagship publication, 72, his first major project since departing his previous role. He says he wants to continue being a "change-maker".

"I’ve always questioned the established norms. I was born and raised in a place where the majority was Black – the physicians, the attorneys, the president. Then we came to England, with nothing, and I became the 'other'. I was very shy. My teachers said I’d never amount to anything. Me and my brothers were harassed under the suspicion laws … those experiences gave me a sense of being on the inside and the outside."

Contrary to the stereotype of fashion editors as brash and temperamental, Enninful is calm and projects peace. His journey has involved challenges, including well-documented battles with depression and substance use.

He has also endured serious health issues, having had multiple operations on his eyes, leading to impaired eyesight. "I endured such a dark place for two years, not working, terrified I was going to go blind. It’s comparable 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 confine myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This refusal to be defined narrowly has led him beyond the world that established him. He is now curating a seminal 1990s exhibition at Tate Britain, bringing together work by a group of influential artists and photographers from the era. The show, he explains, aims to capture the decade's creative cross-pollination – and highlight those who lacked due recognition at the time.

"Galleries sometimes neglected to promote the truly innovative creators because they weren't of the traditional credentials," he comments.

This project itself uses a unique business model, 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 part of a broader vision."

A Testament to Resilience

Currently, Enninful stands as one of the world's most powerful cultural influencers. His path, he believes, is a proof to the power of defying expectations.

How would the younger Edward think of the his current self? He laughs heartily. "It would be a surprise, but he’d be impressed. Back then I was anti-establishment. I never imagined institutions like Tate were within my reach."

He reflects. "Nothing is assumed. We fled, we left our homeland. I almost lost my vision. So fear is not a factor. People have doubted me my whole career. But I am unstoppable once I’ve made up my mind to do something."