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

An unexpected discovery during a tube journey in 1988 altered the course of a teenage Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the London's buzzing 1990s creative scene, evolving from model to stylist and, while still a teenager, becoming the style editor of i-D magazine.

"That time was the height of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I knew we’d be close. We all mixed across disciplines. Friday bled into Saturday into Sunday. I miss that energy."

While Enninful may seem nostalgic, he is far from alone. Recently, a longing look back of the 1990s has grown intense. However in the intervening decades, Enninful believes a significant change. "In my view, we’re less tolerant now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s a global phenomenon."

A Cultural Backslide

This change is increasingly evident: the rise of nationalist groups, the backlash against progressive values, and the return of traditional beauty standards. Where once there was the optimism of the previous decade, currently a different political personality looms as a potential leader. Furthermore, the British flag, once an emblem of Cool Britannia, has returned as a polarising symbol.

For Enninful, the solution has consistently been to promote culture in all its diversity. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a broad spectrum of cultural icons from literature.

"Individuals with a platform should wield it," he asserts, referring to those publishing choices. "There is much discussion about immigration; I could not have had this life if Britain hadn't been a welcoming country, if it hadn't given my family a home and an opportunity. That’s the Britain I always loved. I trust this period will end."

The Younger Generation's Awareness

He finds hope in the younger generation: "They are far more conscious than we were. They analyse unconscious bias – I didn't even know what that was."

Those early experiences would forge a trailblazing career built on boldness and representation. Enninful broke barriers as the first man, first black man, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His time featured landmark covers showcasing models of colour, plus-sized women, an octogenarian, and people from all walks of life. Importantly, sales rose.

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

Launching a Creative Venture

He has recently launched his creative company EE72 and its accompanying magazine, 72, his key endeavour since moving on from his former post. He states his aim to continue being a "disruptor".

"I constantly interrogate the conventional wisdom. I was born and raised in a place where the majority was Black – the doctors, the lawyers, the president. Then we arrived in England, without funds, and I became the 'other'. I was painfully reserved. My teachers said I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … this duality gave me a unique perspective on the inside and the outside."

Contrary to the caricature of industry figures as loud and temperamental, Enninful is softly spoken and radiates serenity. His life has not been immune to hardship, including openly discussed battles with mental health and addiction.

He has also faced significant health issues, having had multiple operations on his eyes, resulting in partial sight. "I endured such a difficult period for two years, away from work, anxious I was going to lose my sight. 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 limit myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This drive to fit into a box has led him away from the world that made his name. He is now curating a significant 1990s exhibition at Tate Britain, bringing together work by a roster of defining artists and photographers from the era. The show, he notes, aims to capture the decade's interdisciplinary energy – and give platform to those who did not receive due recognition at the time.

"The establishment didn't always promote the truly innovative creators because they did not have the expected background," he observes.

This venture itself operates on a different business model, eschewing traditional advertising in favour of partnership-based projects. "Our approach is, what can we achieve in partnership? Is it an experience, a podcast? 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 cultural influencers. His path, he feels, is a demonstration to the power of following your instincts.

What would the Enninful of that era react to the man he has become? He laughs heartily. "It would be a surprise, but he’d be pleased. In those days I was a rebel. I never imagined institutions like Tate were within my reach."

He pauses. "I never take anything for granted. We were displaced, we left our homeland. I nearly lost my vision. So fear is not a factor. People have counted me out my whole career. But no obstacle is too great once I’ve made up my mind to do something."