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 young Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the London's vibrant 1990s creative scene, progressing from mannequin to stylist and, before turning twenty, becoming the fashion director of the publication i-D.

"It was the zenith of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "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 miss that rawness."

While Enninful may seem sentimental, he is in good company. Recently, a longing look back of the 1990s has become pervasive. But in the intervening decades, Enninful perceives a significant change. "I believe, we’re less tolerant now than we were in the 90s," he remarks. "It’s not even this country – it’s a global phenomenon."

A Cultural Backslide

This change is difficult to overlook: the growth of populist movements, the pushback against progressive values, and the return of traditional beauty standards. In place of the hope of the previous decade, currently a more divisive political force appears as a possible leader. Furthermore, the British flag, once an badge of cultural optimism, has become contentious again.

For Enninful, the solution has always been to promote culture in all its diversity. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a wide range of prominent faces from literature.

"People with a voice should use it," he says, referring to those publishing choices. "Everyone talks about immigration; I would not be in this position if Britain hadn't been a lenient country, if it refused my family a home and an education. That’s the Britain I always loved. I trust this phase will fade."

A New Wave of Consciousness

He takes comfort in the younger generation: "Their awareness is greater than we were. They discuss implicit prejudice – I didn't even know what that was."

The beginnings of his career would shape a pioneering career marked by boldness and inclusivity. Enninful made history as the first male, first black man, first openly gay person, and first disabled Black gay man to lead at British Vogue. His tenure featured diverse covers showcasing people of diverse backgrounds, curvy models, older individuals, and individuals from all walks of life. Critically, sales rose.

"To overlook large portions of the population, it’s not just that you’re not being inclusive – it’s bad for business," he states.

Beyond the Magazine World

He has established his creative company EE72 and its accompanying magazine, 72, his first major project since departing his previous role. He says he wants to continue being a "disruptor".

"My nature is to challenge the conventional wisdom. I was born and raised in a place where the majority was Black – the doctors, the attorneys, the president. Then we came to England, without funds, 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 subject to police stops the Sus laws … those experiences gave me a unique perspective between worlds."

Defying the caricature of fashion editors as brash and highly strung, Enninful is calm and projects peace. His life has not been immune to challenges, including well-documented periods of mental health and addiction.

He has also faced significant health challenges, having had multiple operations on his eyes, resulting in impaired eyesight. "I was in such a time of fear for two years, away from work, anxious I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I thought, if this ever ends, 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."

The Tate Britain Exhibition

This drive to fit into a box has inspired him beyond the realm that established him. He is now putting together a major 1990s exhibition at Tate Britain, featuring work by a roster of defining artists and photographers from the era. The show, he explains, aims to capture the decade's artistic collaboration – and give platform to those who weren't given adequate attention at the time.

"The establishment didn't always shine a light on the most relevant talents because they did not have the expected background," he comments.

This venture itself uses a different strategy, eschewing traditional advertising in favour of creative collaborations. "The question is, what can we achieve in partnership? Is it an event, a series? The magazine is one component of a greater ecosystem."

A Testament to Resilience

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

What would the Enninful of that era think of the Edward of today? He laughs heartily. "He would be astonished, but he’d be pleased. In those days I was a rebel. I would not have believed institutions like Tate were within my reach."

He pauses. "I never take anything for granted. We were displaced, we fled our country. I came close to losing my vision. So there is no room for fear. People have counted me out my whole career. But I am unstoppable once I’ve made up my mind to do something."