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

An unexpected discovery during a tube journey in 1988 changed forever the trajectory of a young Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was quickly drawn into the city's electric 1990s cultural landscape, progressing from model to stylist and, by the age of 18, becoming the style editor of the iconic i-D.

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

While Enninful may seem wistful, he is far from alone. Lately, a longing look back of the 1990s has become pervasive. However in the intervening decades, Enninful feels a noticeable regression. "I believe, we’re less tolerant now than we were in the 90s," he observes. "This isn't just this country – it’s everywhere."

A Cultural Backslide

This regression is increasingly evident: the resurgence of far-right politics, the reaction against so-called "wokeness", and the reassertion of Eurocentric beauty standards. Replacing the hope of the Blair era, currently a more divisive political force looms as a possible leader. Furthermore, the Union Jack, once an emblem of cultural optimism, has sparked debate once more.

According to Enninful, the response has consistently been to champion culture in all its multifaceted forms. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a wide range of cultural icons from literature.

"Individuals with a platform should use it," he asserts, referring to those publishing choices. "There is much discussion about immigration; I could not have had this life if Britain was not a welcoming country, if it hadn't given my family a home and an education. That’s the Britain I cherished. I trust this moment will fade."

Hope in the Next Generation

He draws solace in the next generation: "They are far more conscious than we were. They talk about implicit prejudice – I didn't even know what that was."

His formative years would forge a groundbreaking career marked by boldness and diversity. Enninful set a precedent as the first male, first Black editor, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His time featured diverse covers showcasing Black models, curvy models, an octogenarian, and individuals from varied communities. Importantly, sales rose.

"When you ignore vast segments of the population, it’s more than that you’re failing to represent – it’s bad for business," he explains.

Beyond the Magazine World

He has recently launched his creative company EE72 and its accompanying magazine, 72, his premier initiative since moving on from his previous role. He says he wants to continue being a "disruptor".

"My nature is to challenge the established norms. I was raised in a place where everybody was black – the doctors, the attorneys, the president. Then we arrived in England, without funds, and I was a minority. I was very shy. My teachers said I’d have no future. Me and my brothers were stopped by the police the Sus laws … those experiences gave me a unique perspective between worlds."

In contrast to the caricature of fashion editors as loud and temperamental, Enninful is softly spoken and radiates serenity. His life has included its share of hardship, including publicly shared struggles with mental health and substance use.

He has also undergone significant health issues, having had multiple operations on his eyes, leading to limited vision. "I was in such a difficult period for two years, away from work, fearing I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I thought, if this ever ends, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to confine myself to just being an editor or a fashion person."

Curating a Cultural Era

This refusal to fit into a box has led him away from the realm that established him. He is now organising a major 1990s exhibition at Tate Britain, bringing together 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 highlight those who lacked due recognition at the time.

"The establishment often failed to celebrate the right artists because they weren't of the traditional credentials," he states.

The magazine 72 itself functions with a different strategy, forgoing traditional advertising in favour of integrated partnerships. "The question is, what can we create collaboratively? Is it an event, a series? The magazine is part of a broader vision."

Looking Forward Without Fear

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

How would the Edward of the 90s think of the Edward of today? He smiles. "He would be astonished, but he’d be proud. In those days I was anti-establishment. I never imagined institutions like Tate were a place for someone like me."

He pauses. "Gratitude is key. We lost our home, we left our homeland. I came close to losing my vision. So there is no room for fear. People have doubted me my entire life. But no obstacle is too great once I’ve made up my mind to do something."