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

A serendipitous meeting while riding the tube in 1988 transformed the path of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the London's buzzing 1990s creative scene, moving from model to stylist and, before turning twenty, becoming the style editor of the iconic i-D.

"It was the zenith of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I felt we’d be great friends. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I miss that rawness."

If Enninful sounds nostalgic, he is not the only one. In recent times, a longing look back of the 1990s has grown intense. But since that time, Enninful believes a noticeable regression. "I feel, we’re less accepting now than we were in the 90s," he says. "This isn't just this country – it’s worldwide."

A Cultural Backslide

This shift is hard to ignore: the resurgence of nationalist groups, the pushback against so-called "wokeness", and the return of narrow beauty standards. Where once there was the optimism of the previous decade, now a different political figure stands as a possible leader. Furthermore, the British flag, once an emblem of national pride, has sparked debate once more.

For Enninful, the response has long been to champion culture in all its multifaceted forms. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a diverse array of prominent faces from politics.

"Individuals with a platform should use it," he says, explaining those editorial decisions. "People often debate about immigration; I would not be in this position if Britain was not a welcoming country, if it refused my family a home and an opportunity. That’s the Britain I cherished. I hope this period will fade."

Hope in the Next Generation

He finds hope in the younger generation: "They are far more conscious than we were. They talk about unconscious bias – I was not even aware what that was."

The beginnings of his career would define a trailblazing career characterised by boldness and diversity. Enninful broke barriers as the first man, first black man, 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, curvy models, older individuals, and individuals from all walks of life. Importantly, sales rose.

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

A New Chapter as a 'Disruptor'

He has established his creative company EE72 and its accompanying magazine, 72, his first major project since leaving his former post. He states his aim to continue being a "disruptor".

"I’ve always questioned the status quo. I was raised in a place where Black professionals were the norm – the physicians, the attorneys, the president. Then we arrived in England, penniless, and I was a minority. I was painfully reserved. My teachers said I’d never amount to anything. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a sense of being on the inside and the outside."

Defying the stereotype of fashion editors as brash and temperamental, Enninful is calm and projects peace. His path has not been immune to hardship, including publicly shared struggles with depression and substance use.

He has also endured significant health challenges, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I was in such a difficult period for two years, not working, fearing I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I vowed, if this ever passes, I’m just going to do everything that I was so afraid 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 be defined narrowly has inspired him outside the realm that established him. He is now putting together a major 1990s exhibition at Tate Britain, featuring work by a group of pivotal artists and photographers from the era. The show, he notes, aims to explore the decade's artistic collaboration – and give platform to those who lacked adequate attention at the time.

"Galleries sometimes neglected to shine a light on the truly innovative creators because they did not have the expected background," he comments.

This project itself uses a different strategy, rejecting traditional advertising in favour of partnership-based projects. "Our approach is, what can we create collaboratively? Is it an experience, a series? The magazine is a piece within a larger creative platform."

A Testament to Resilience

Currently, Enninful stands as one of the world's most powerful creative power brokers. His story, he believes, is a proof to the power of defying expectations.

How would the younger Edward think of the man he has become? He chuckles. "It would be a surprise, but he’d be proud. In those days I was a rebel. I didn't think institutions like Tate were necessarily for me."

He pauses. "I never take anything for granted. We lost our home, we left our homeland. I almost lost my vision. So fear isn't an option. People have counted me out my whole career. But no obstacle is too great once I’ve decided to do something."