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

An unexpected discovery during a tube journey in 1988 transformed the trajectory of a teenage Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the capital's buzzing 1990s creative scene, evolving from mannequin to stylist and, while still a teenager, becoming the style editor of i-D magazine.

"That era was the height of the Young British Artists – 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 great friends. We all socialised across disciplines. Friday became Saturday into Sunday. I long for that rawness."

Although Enninful appears nostalgic, he is in good company. Recently, a wistful romanticisation of the 1990s has become pervasive. But in the intervening decades, Enninful believes a significant change. "In my view, we’re less tolerant now than we were in the 90s," he says. "This isn't just this country – it’s worldwide."

A Perceived Regression

This regression is difficult to overlook: the growth of nationalist groups, the reaction against progressive values, and the return of narrow beauty standards. Replacing the hope of the late 90s, today a more divisive political figure appears as a potential leader. Even, the British flag, once an emblem of national pride, has become contentious again.

For Enninful, the solution has consistently been to champion culture in all its multifaceted forms. 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 wide range of cultural icons from literature.

"People with a voice should use it," he says, discussing those editorial decisions. "People often debate about immigration; I would not be in this position if Britain were not a open country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I believed in. I hope this period will end."

The Younger Generation's Awareness

He finds hope in the youth of today: "They are far more conscious than we were. They discuss systemic issues – I was not even aware what that was."

The beginnings of his career would define a trailblazing career built on fearlessness and diversity. Enninful set a precedent as the first male, first black man, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His time featured diverse covers showcasing Black models, plus-sized women, an octogenarian, and individuals from all walks of life. Critically, sales grew.

"Ignoring huge sections of the population, it’s more than that you’re not being inclusive – it’s bad for business," he emphasises.

A New Chapter as a 'Disruptor'

He has since founded his new venture EE72 and its flagship publication, 72, his premier initiative since leaving his previous role. He expresses a desire to continue being a "innovator".

"I’ve always questioned the status quo. I was brought up in a place where everybody was black – the doctors, the attorneys, the president. Then we came to England, with nothing, and I found myself on the margins. I was very shy. My teachers predicted I’d never amount to anything. Me and my brothers were stopped by the police the Sus laws … this duality gave me a unique perspective between worlds."

In contrast to the stereotype of industry figures as loud and temperamental, Enninful is softly spoken and radiates serenity. His path has involved adversity, including openly discussed battles with depression and addiction.

He has also endured serious health challenges, having had multiple operations on his eyes, now leaving him with limited vision. "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 exist in a state of dread 24/7. I vowed, if this ever is over, I’m just going to do everything that I was so scared to do. I’m not going to restrict myself to just being an editor or a fashion person."

A Foray into Curation

This determination to be defined narrowly has led him outside the industry that made his name. He is now putting together a significant 1990s exhibition at Tate Britain, featuring work by a host of influential artists and photographers from the era. The show, he says, aims to evoke the decade's interdisciplinary energy – and spotlight those who weren't given adequate attention at the time.

"Galleries sometimes neglected to shine a light on the most relevant talents because they did not have the expected background," he states.

This project itself uses a novel approach, eschewing traditional advertising in favour of integrated partnerships. "We ask, what can we achieve in partnership? Is it an experience, a podcast? The magazine is a piece within a greater ecosystem."

An Unstoppable Drive

Today, Enninful is regarded as one of the world's most influential industry leaders. His journey, he states, is a testament to the power of defying expectations.

What would the younger Edward react to the Edward of today? He smiles. "He would be astonished, but he’d be impressed. At that time I was sceptical of institutions. I would not have believed institutions like Tate were a place for someone like me."

He reflects. "I never take anything for granted. We were displaced, we fled our country. I almost lost my vision. So fear isn't an option. People have counted me out my whole career. But I am unstoppable once I’ve set my intention to do something."