Edward Enninful on Modern Britain: 'A Decline in Tolerance' Compared to the Nineties.

A serendipitous meeting during a tube journey in 1988 changed forever the course of a teenage Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the capital's buzzing 1990s cultural landscape, moving from model to stylist and, before turning twenty, becoming the style editor of the iconic i-D.

"It was the height of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I understood we’d be kindred spirits. We all hung out across disciplines. Friday bled into Saturday into Sunday. I yearn for that spontaneity."

If Enninful sounds wistful, he is not the only one. Lately, a fond idealisation of the 1990s has grown intense. But over the last thirty years, Enninful feels a noticeable regression. "I feel, we’re less tolerant now than we were in the 90s," he observes. "The issue extends beyond this country – it’s everywhere."

A Cultural Backslide

This change is hard to ignore: the rise of populist movements, the backlash against social awareness, and the reassertion of traditional beauty standards. Replacing the optimism of the previous decade, today a more divisive political figure stands as a possible leader. Furthermore, the Union Jack, once an badge of cultural optimism, has returned as a polarising symbol.

For Enninful, the response has always been to promote culture in all its variety. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a diverse array of prominent faces from literature.

"Individuals with a platform should wield it," he asserts, explaining those editorial decisions. "There is much discussion about immigration; I would not be in this position if Britain was not a welcoming country, if it hadn't given my family a home and an opportunity. That’s the Britain I always loved. I believe this period will fade."

A New Wave of Consciousness

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

The beginnings of his career would shape a pioneering career marked by boldness and inclusivity. 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 leadership featured landmark covers showcasing Black models, plus-sized women, an octogenarian, and individuals from all walks of life. Importantly, sales increased.

"Ignoring large portions of the population, it’s more than that you’re excluding people – it’s a poor strategy," he explains.

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 says he wants to continue being a "disruptor".

"I’ve always questioned the conventional wisdom. I was raised in a place where everybody was black – the doctors, the attorneys, the president. Then we arrived in England, penniless, and I became the 'other'. I was painfully reserved. My teachers declared I’d have no future. Me and my brothers were stopped by the police the Sus laws … all that gave me a sense of being between worlds."

Contrary to the popular image of fashion editors as loud and temperamental, Enninful is measured in tone and exudes calm. His path has not been immune to hardship, including openly discussed struggles with mental health and addiction.

He has also undergone serious health challenges, having had multiple operations on his eyes, now leaving him with partial sight. "I was in such a dark place for two years, not working, fearing I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I thought, if this ever ends, I’m just going to do everything 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 be defined narrowly has led him away from the world that built his career. He is now organising a seminal 1990s exhibition at Tate Britain, featuring work by a roster of defining artists and photographers from the era. The show, he explains, aims to evoke the decade's artistic collaboration – and highlight those who lacked a spotlight at the time.

"Galleries often failed to shine a light on the most relevant talents because they did not have the right pedigree," he states.

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

A Testament to Resilience

Today, Enninful operates as one of the world's most powerful industry leaders. His journey, he believes, is a proof to the power of pursuing your passions.

How would the younger Edward react to the his current self? He chuckles. "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. "Gratitude is key. We were displaced, we fled our country. I came close to losing my vision. So fear is not a factor. People have doubted me my whole career. But I am unstoppable once I’ve decided to do something."