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

A chance encounter while riding the tube in 1988 transformed the trajectory of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the capital's buzzing 1990s artistic milieu, moving from mannequin to stylist and, before turning twenty, becoming the style editor of the publication i-D.

"It was the zenith of the YBA movement – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I knew we’d be kindred spirits. We all mixed across disciplines. Friday bled into Saturday into Sunday. I long for that spontaneity."

Although Enninful appears nostalgic, he is not the only one. In recent times, a longing look back of the 1990s has become pervasive. However over the last thirty years, Enninful perceives a profound shift. "In my view, we’re less accepting now than we were in the 90s," he says. "It’s not even this country – it’s everywhere."

Shifting Attitudes

This regression is increasingly evident: the resurgence of populist movements, the backlash against so-called "wokeness", and the reassertion of traditional beauty standards. Replacing the optimism of the late 90s, now a different political figure stands as a possible leader. Furthermore, the Union Jack, once an emblem of national pride, has become contentious again.

In Enninful's view, the antidote has long been to champion culture in all its diversity. 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 broad spectrum of cultural icons from music.

"Those in a position of influence should wield it," he asserts, discussing those editorial decisions. "There is much discussion about immigration; I could not have had this life if Britain hadn't been a welcoming country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I believed in. I believe this period will pass."

Hope in the Next Generation

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

His formative years would define a trailblazing career marked by boldness and inclusivity. Enninful made history as the first male, first black man, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His tenure featured landmark covers showcasing Black models, curvy models, older individuals, and individuals from varied communities. Critically, sales rose.

"When you ignore vast segments of the population, it’s more than that you’re excluding people – it’s a poor strategy," he states.

Launching a Creative Venture

He has established his agency EE72 and its flagship publication, 72, his premier initiative since leaving his previous role. He says he wants to continue being a "disruptor".

"My nature is to challenge the established norms. I was raised in a place where Black professionals were the norm – the doctors, the lawyers, the president. Then we arrived in England, penniless, and I found myself on the margins. I was incredibly timid. My teachers declared I’d never amount to anything. Me and my brothers were stopped by the police the Sus laws … all that gave me a sense of being both an insider and outsider."

In contrast to the popular image of industry figures as loud and highly strung, Enninful is softly spoken and exudes calm. His journey has included its share of hardship, including openly discussed periods of mental health and addiction.

He has also endured significant health challenges, having had multiple operations on his eyes, resulting in partial sight. "I was in such a dark place for two years, not working, anxious I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I prayed, if this ever passes, I’m just going to pursue all that I was so fearful to do. I’m not going to confine myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This drive to fit into a box has led him outside the world that built his career. He is now curating a seminal 1990s exhibition at Tate Britain, bringing together work by a host of defining artists and photographers from the era. The show, he says, aims to capture the decade's artistic collaboration – and highlight those who lacked adequate attention at the time.

"The establishment sometimes neglected to shine a light on the most relevant talents because they lacked the expected background," he comments.

This project itself functions with a unique strategy, forgoing traditional advertising in favour of integrated partnerships. "We ask, what can we achieve in partnership? Is it an event, a podcast? The magazine is one component of a larger creative platform."

An Unstoppable Drive

Now, Enninful operates as one of the world's most respected creative power brokers. His journey, he believes, is a demonstration to the power of defying expectations.

How would the younger Edward think of the his current self? He smiles. "He’d be in shock, but he’d be pleased. In those days I was sceptical of institutions. I would not have believed institutions like Tate were a place for someone like me."

He pauses. "I never take anything for granted. We lost our home, 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."