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

A chance encounter while riding the tube in 1988 altered the course of a teenage Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the London's buzzing 1990s artistic milieu, moving from mannequin to stylist and, while still a teenager, becoming the fashion director of the iconic i-D.

"That era was the height of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I knew we’d be kindred spirits. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I miss that energy."

Although Enninful appears wistful, he is far from alone. In recent times, a fond idealisation of the 1990s has reached fever pitch. Yet in the intervening decades, Enninful feels a profound shift. "In my view, we’re more divided now than we were in the 90s," he observes. "The issue extends beyond this country – it’s everywhere."

A Cultural Backslide

This regression is difficult to overlook: the rise of far-right politics, the reaction against so-called "wokeness", and the reinforcement of traditional beauty standards. Replacing the optimism of the previous decade, today a more divisive political figure appears as a potential leader. Furthermore, the British flag, once an symbol of Cool Britannia, has become contentious again.

According to Enninful, the response has long been to promote 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 celebration of modern Britain, including a diverse array of cultural icons from politics.

"People with a voice should employ it," he asserts, explaining those publishing choices. "There is much discussion about immigration; I could not have had this life if Britain hadn't been a open country, if it did not offer my family a refuge and an education. That’s the Britain I cherished. I trust this moment will end."

A New Wave of Consciousness

He draws solace in the younger generation: "Their awareness is greater than we were. They discuss unconscious bias – I had no concept what that was."

Those early experiences would define a trailblazing career characterised by boldness and inclusivity. Enninful broke barriers as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His tenure featured historic front pages showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and individuals from all walks of life. Critically, sales rose.

"Ignoring huge sections of the population, it’s not just that you’re excluding people – it’s a poor strategy," he states.

Launching a Creative Venture

He has recently launched his creative company EE72 and its flagship publication, 72, his premier initiative since moving on from his former post. He expresses a desire to continue being a "disruptor".

"My nature is to challenge the established norms. I was born and raised in a place where the majority was Black – the doctors, the attorneys, the president. Then we arrived in England, with nothing, and I was a minority. I was very shy. My teachers said I’d have no future. Me and my brothers were subject to police stops the Sus laws … all that gave me a dual identity on the inside and the outside."

In contrast to the popular image of fashion editors as loud and highly strung, Enninful is measured in tone and projects peace. His life has involved adversity, including openly discussed periods of mental health and substance use.

He has also endured serious health issues, having had multiple operations on his eyes, resulting in limited vision. "I was in such a time of fear for two years, away from work, fearing I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I thought, if this ever passes, 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."

A Foray into Curation

This refusal to be typecast has propelled him outside the world that made his name. He is now putting together a seminal 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 capture the decade's creative cross-pollination – and give platform to those who lacked due recognition at the time.

"Institutions often failed to promote the truly innovative creators because they lacked the expected background," he observes.

This project itself uses a novel approach, forgoing traditional advertising in favour of integrated partnerships. "The question is, what can we do together? Is it an experience, a series? The magazine is one component of a broader vision."

Looking Forward Without Fear

Currently, Enninful is regarded as one of the world's most influential industry leaders. His story, he states, is a testament to the power of defying expectations.

What would the Enninful of that era think of the his current self? He smiles. "He would be astonished, but he’d be proud. At that time I was sceptical of institutions. I would not have believed institutions like Tate were within my reach."

He reflects. "Nothing is assumed. We were displaced, we left our homeland. I came close to losing my vision. So fear isn't an option. People have counted me out my whole career. But nothing can stop me once I’ve decided to do something."