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

A chance encounter while riding the tube in 1988 altered the trajectory of a teenage Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the city's vibrant 1990s creative scene, moving from mannequin to stylist and, before turning twenty, becoming the fashion director of i-D magazine.

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

Although Enninful appears nostalgic, he is in good company. In recent times, a fond idealisation of the 1990s has become pervasive. Yet in the intervening decades, Enninful believes a significant change. "In my view, we’re less tolerant now than we were in the 90s," he observes. "It’s not even this country – it’s everywhere."

A Cultural Backslide

This shift is hard to ignore: the resurgence of far-right politics, the backlash against progressive values, and the reinforcement of narrow beauty standards. Replacing the hope of the previous decade, currently a more divisive political force stands as a potential leader. Furthermore, the Union Jack, once an emblem of Cool Britannia, has become contentious again.

In Enninful's view, the solution has long been to champion culture in all its variety. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a diverse array of cultural icons from politics.

"Individuals with a platform should employ it," he comments, explaining those publishing choices. "There is much discussion about immigration; I could not have had this life if Britain were not a lenient country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I believed in. I trust this period will pass."

The Younger Generation's Awareness

He draws solace in the next generation: "They are far more conscious than we were. They analyse systemic issues – I was not even aware what that was."

The beginnings of his career would forge a pioneering career marked by boldness and diversity. Enninful set a precedent as the first man, first black man, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His leadership featured landmark covers showcasing Black models, plus-sized women, an octogenarian, and individuals from varied communities. Significantly, sales rose.

"When you ignore vast segments of the population, it’s not just that you’re not being inclusive – it’s a poor strategy," he states.

A New Chapter as a 'Disruptor'

He has since founded his new venture EE72 and its flagship publication, 72, his first major project since leaving his former post. He states his aim to continue being a "innovator".

"I constantly interrogate the conventional wisdom. I was raised in a place where the majority was Black – the doctors, the lawyers, the leader. Then we came to England, with nothing, and I was a minority. I was very shy. My teachers predicted I’d have no future. Me and my brothers were harassed under the suspicion laws … this duality gave me a dual identity between worlds."

Defying the caricature of industry figures as loud and temperamental, Enninful is calm and radiates serenity. His life has included its share of challenges, including openly discussed struggles with depression and addiction.

He has also undergone serious health challenges, having undergone several surgeries on his eyes, now leaving him with partial sight. "I experienced such a time of fear 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 ends, I’m just going to pursue all that I was so fearful to do. I’m not going to limit myself to just being an editor or a fashion person."

Curating a Cultural Era

This refusal to fit into a box has propelled him away from the realm that built his career. He is now curating a seminal 1990s exhibition at Tate Britain, featuring work by a group of influential artists and photographers from the era. The show, he explains, aims to capture the decade's interdisciplinary energy – and spotlight those who did not receive due recognition at the time.

"Institutions sometimes neglected to promote the right artists because they lacked the traditional credentials," he states.

This project 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 experience, a podcast? The magazine is a piece within a greater ecosystem."

Looking Forward Without Fear

Today, Enninful is regarded as one of the world's most influential creative power brokers. His story, he believes, is a demonstration to the power of pursuing your passions.

How would the Edward of the 90s think of the his current self? He chuckles. "He’d be in shock, but he’d be impressed. At that time I was a rebel. I didn't think institutions like Tate were within my reach."

He pauses. "Nothing is assumed. We were displaced, we fled our country. I came close to losing my vision. So fear isn't an option. People have counted me out my entire life. But no obstacle is too great once I’ve set my intention to do something."