Edward Enninful discusses Modern Britain: 'A Decline in Tolerance' Than We Were Decades Ago.

An unexpected discovery while riding the tube in 1988 transformed the path of a teenage Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the capital's vibrant 1990s creative scene, progressing from model to stylist and, by the age of 18, becoming the style editor of i-D magazine.

"It was the height of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I felt we’d be kindred spirits. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I miss that energy."

While Enninful may seem nostalgic, he is far from alone. Lately, a fond idealisation of the 1990s has become pervasive. But 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. "The issue extends beyond this country – it’s worldwide."

A Cultural Backslide

This regression is increasingly evident: the rise of populist movements, the backlash against so-called "wokeness", and the reinforcement of Eurocentric beauty standards. In place of the hope of the previous decade, currently a different political figure looms as a possible leader. Even, the Union Jack, once an symbol of cultural optimism, has sparked debate once more.

In Enninful's view, the antidote has consistently been to celebrate culture in all its diversity. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a broad spectrum of prominent faces from politics.

"People with a voice should wield it," he asserts, referring to those publishing choices. "There is much discussion about immigration; I wouldn't be here if Britain was not a lenient country, if it refused my family a home and an education. That’s the Britain I believed in. I believe this period will pass."

A New Wave of Consciousness

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

Those early experiences would shape a pioneering career marked by fearlessness and inclusivity. Enninful made history as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His tenure featured landmark covers showcasing models of colour, plus-sized women, an octogenarian, and individuals from varied communities. Importantly, sales rose.

"To overlook huge sections of the population, it’s not just that you’re failing to represent – it’s a poor strategy," he emphasises.

Beyond the Magazine World

He has established his creative company EE72 and its accompanying magazine, 72, his key endeavour since moving on from his previous role. He expresses a desire to continue being a "change-maker".

"My nature is to challenge the established norms. I was born and raised in a place where Black professionals were the norm – the doctors, the attorneys, the president. Then we came to England, without funds, and I became the 'other'. I was painfully reserved. My teachers declared I’d have no future. Me and my brothers were harassed under the Sus laws … this duality gave me a dual identity on the inside and the outside."

Contrary to the popular image of industry figures as loud and temperamental, Enninful is measured in tone and exudes calm. His life has not been immune to challenges, including openly discussed periods of mental health and substance use.

He has also endured significant health issues, having undergone several surgeries on his eyes, now leaving him with limited vision. "I experienced such a dark place for two years, not working, anxious I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever passes, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to limit myself to just being an editor or a fashion person."

A Foray into Curation

This determination to fit into a box has propelled him outside the world that made his name. He is now putting together a seminal 1990s exhibition at Tate Britain, featuring work by a host of pivotal artists and photographers from the era. The show, he says, aims to capture the decade's creative cross-pollination – and highlight those who weren't given adequate attention at the time.

"Institutions sometimes neglected to celebrate the most relevant talents because they weren't of the expected background," he states.

The magazine 72 itself operates on a different approach, rejecting traditional advertising in favour of partnership-based projects. "The question is, what can we achieve in partnership? Is it an experience, a series? The magazine is part of a larger creative platform."

A Testament to Resilience

Now, Enninful stands as one of the world's most respected creative power brokers. His story, he feels, is a demonstration to the power of following your instincts.

How would the Edward of the 90s think of the man he has become? He smiles. "He would be astonished, but he’d be pleased. Back then I was anti-establishment. I would not have believed institutions like Tate were necessarily for me."

He pauses. "Gratitude is key. We fled, we fled our country. I almost lost my vision. So there is no room for fear. People have doubted me my whole career. But nothing can stop me once I’ve made up my mind to do something."