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

An unexpected discovery on the London Underground in 1988 altered the course of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the London's vibrant 1990s creative scene, progressing from model to stylist and, before turning twenty, becoming the style editor of i-D magazine.

"That time was the peak of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I understood we’d be close. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I long for that rawness."

Although Enninful appears wistful, he is far from alone. Lately, a longing look back of the 1990s has reached fever pitch. However since that time, Enninful perceives a profound shift. "I believe, we’re less accepting now than we were in the 90s," he remarks. "It’s not even this country – it’s worldwide."

A Cultural Backslide

This shift is increasingly evident: the resurgence of populist movements, the backlash against so-called "wokeness", and the reinforcement of Eurocentric beauty standards. Replacing the hope of the previous decade, now a different political force stands as a possible leader. Even, the Union Jack, once an symbol of Cool Britannia, has returned as a polarising symbol.

According to Enninful, the response has always been to promote culture in all its variety. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a broad spectrum of cultural icons from art.

"Those in a position of influence should employ it," he asserts, explaining those editorial decisions. "Everyone talks about immigration; I would not be in this position if Britain hadn't been a lenient country, if it did not offer my family a home and an opportunity. That’s the Britain I cherished. I trust this period will fade."

A New Wave of Consciousness

He takes comfort in the younger generation: "They’re much more aware than we were. They discuss systemic issues – I was not even aware what that was."

Those early experiences would shape a trailblazing career characterised by fearlessness and representation. Enninful broke barriers as the first man, first Black editor, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His tenure featured landmark covers showcasing Black models, plus-sized women, an octogenarian, and people from varied communities. Significantly, sales rose.

"To overlook vast segments of the population, it’s more than that you’re excluding people – it’s bad for business," he states.

Launching a Creative Venture

He has since founded his agency EE72 and its flagship publication, 72, his premier initiative since departing his former post. He expresses a desire to continue being a "innovator".

"I’ve always questioned the status quo. I was born and raised in a place where everybody was black – the physicians, the lawyers, the president. Then we came to England, penniless, and I became the 'other'. I was very shy. My teachers said I’d have no future. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a unique perspective between worlds."

Contrary to the popular image of fashion editors as brash and temperamental, Enninful is measured in tone and radiates serenity. His life has not been immune to challenges, including well-documented battles with depression and addiction.

He has also endured serious health issues, having had multiple operations on his eyes, now leaving him with limited vision. "I endured such a dark place for two years, not working, anxious I was going to lose my sight. It’s comparable to PTSD; you just exist in a state of dread 24/7. I thought, if this ever is over, I’m just going to pursue all that I was so scared to do. I’m not going to restrict myself to just being an editor or a fashion person."

Curating a Cultural Era

This determination to be defined narrowly has propelled him beyond the world that established him. He is now organising a major 1990s exhibition at Tate Britain, showcasing work by a host of pivotal artists and photographers from the era. The show, he explains, aims to evoke the decade's artistic collaboration – and give platform to those who did not receive due recognition at the time.

"Institutions sometimes neglected to promote the right artists because they weren't of the right pedigree," he states.

This project itself uses a different approach, eschewing traditional advertising in favour of partnership-based projects. "The question is, what can we do together? Is it an experience, a series? The magazine is part of a larger creative platform."

An Unstoppable Drive

Today, Enninful is regarded as one of the world's most respected cultural influencers. His journey, he believes, is a proof to the power of following your instincts.

How would the younger Edward make of the man he has become? He chuckles. "He’d be in shock, but he’d be impressed. At that time I was anti-establishment. I didn't think institutions like Tate were a place for someone like me."

He pauses. "Nothing is assumed. We were displaced, we left our homeland. I nearly lost my vision. So fear is not a factor. People have underestimated me my whole career. But I am unstoppable once I’ve decided to do something."