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

A chance encounter during a tube journey in 1988 altered the course of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the capital's electric 1990s creative scene, progressing from model to stylist and, before turning twenty, becoming the style editor of the iconic i-D.

"It was the zenith of the Young British Artists – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I knew we’d be kindred spirits. We all socialised across disciplines. Friday became Saturday into Sunday. I yearn for that spontaneity."

If Enninful sounds sentimental, he is in good company. Lately, a wistful romanticisation of the 1990s has grown intense. But over the last thirty years, Enninful perceives a significant change. "I believe, we’re less accepting now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s everywhere."

A Perceived Regression

This shift is hard to ignore: the growth of populist movements, the pushback against so-called "wokeness", and the reassertion of Eurocentric beauty standards. In place of the optimism of the late 90s, today a different political personality stands as a possible leader. Even, the British flag, once an badge of national pride, has returned as a polarising symbol.

According to Enninful, the solution has long been to celebrate culture in all its variety. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a broad spectrum of prominent faces from art.

"People with a voice should wield it," he says, referring to those editorial decisions. "Everyone talks about immigration; I would not be in this position if Britain was not a lenient country, if it refused my family a refuge and an opportunity. That’s the Britain I cherished. I believe this moment will pass."

The Younger Generation's Awareness

He takes comfort in the next generation: "Their awareness is greater than we were. They analyse implicit prejudice – I was not even aware what that was."

Those early experiences would forge a groundbreaking career marked by boldness and inclusivity. Enninful made history as the first man, first black man, first gay man, and first disabled Black gay man to take the helm at British Vogue. His tenure featured diverse covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and individuals from all walks of life. Importantly, sales rose.

"Ignoring huge sections of the population, it’s not just that you’re not being inclusive – it’s commercially unwise," he states.

Beyond the Magazine World

He has recently launched his new venture EE72 and its flagship publication, 72, his key endeavour since departing his former post. He states his aim to continue being a "innovator".

"I constantly interrogate the conventional wisdom. I was brought up in a place where Black professionals were the norm – the physicians, the attorneys, the leader. Then we came to England, without funds, and I was a minority. I was painfully reserved. My teachers declared I’d never amount to anything. Me and my brothers were harassed under the suspicion laws … all that gave me a dual identity both an insider and outsider."

Contrary to the caricature of fashion editors as loud and temperamental, Enninful is softly spoken and radiates serenity. His path has involved adversity, including publicly shared struggles with mental health and addiction.

He has also endured significant health challenges, having undergone several surgeries on his eyes, leading to limited vision. "I endured such a difficult period for two years, not working, terrified I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I vowed, if this ever ends, I’m just going to do everything that I was so scared to do. I’m not going to limit myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This refusal to be defined narrowly has led him away from the industry that established him. He is now organising a major 1990s exhibition at Tate Britain, featuring work by a host of influential artists and photographers from the era. The show, he notes, aims to evoke the decade's creative cross-pollination – and spotlight those who lacked adequate attention at the time.

"Galleries often failed to promote the most relevant talents because they lacked the traditional credentials," he comments.

The magazine 72 itself functions with a different strategy, rejecting traditional advertising in favour of partnership-based projects. "Our approach is, what can we do together? Is it an event, a podcast? The magazine is one component of a larger creative platform."

An Unstoppable Drive

Now, Enninful is regarded as one of the world's most respected cultural influencers. His story, he believes, is a demonstration to the power of pursuing your passions.

How would the Enninful of that era react to the his current self? He laughs heartily. "He would be astonished, but he’d be pleased. Back then I was sceptical of institutions. I would not have believed institutions like Tate were a place for someone like me."

He adds. "Nothing is assumed. We were displaced, we fled our country. I came close to losing my vision. So fear is not a factor. People have underestimated me my whole career. But nothing can stop me once I’ve made up my mind to do something."