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

A chance encounter while riding the tube in 1988 transformed the course of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the city's buzzing 1990s creative scene, evolving from mannequin to stylist and, while still a teenager, becoming the style editor of the publication i-D.

"That era 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 understood we’d be kindred spirits. We all hung out across disciplines. Friday bled into Saturday into Sunday. I miss that spontaneity."

Although Enninful appears wistful, he is in good company. Lately, a fond idealisation of the 1990s has reached fever pitch. But in the intervening decades, Enninful perceives a significant change. "I feel, we’re more divided now than we were in the 90s," he says. "The issue extends beyond this country – it’s a global phenomenon."

A Cultural Backslide

This change is difficult to overlook: the resurgence of populist movements, the pushback against progressive values, and the return of Eurocentric beauty standards. Replacing the hope of the previous decade, today a more divisive political personality appears as a potential leader. Furthermore, the British flag, once an badge of Cool Britannia, has become contentious again.

For Enninful, the response has consistently been to promote culture in all its multifaceted forms. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a diverse array of prominent faces from literature.

"Those in a position of influence should wield it," he asserts, explaining those editorial decisions. "There is much discussion about immigration; I could not have had this life if Britain hadn't been a welcoming country, if it did not offer my family a home and an opportunity. That’s the Britain I always loved. I hope this period will pass."

The Younger Generation's Awareness

He draws solace in the younger generation: "They’re much more aware than we were. They analyse systemic issues – I didn't even know what that was."

Those early experiences would shape a pioneering career characterised by boldness and representation. Enninful set a precedent as the first man, first Black editor, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His leadership featured diverse covers showcasing Black models, curvy models, older individuals, and people from varied communities. Importantly, sales rose.

"To overlook large portions 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 established his creative company EE72 and its accompanying magazine, 72, his premier initiative since leaving his previous role. He states his aim to continue being a "change-maker".

"I’ve always questioned the conventional wisdom. I was brought up in a place where everybody was black – the doctors, the attorneys, the president. Then we arrived in England, with nothing, and I found myself on the margins. I was incredibly timid. My teachers declared I’d have no future. Me and my brothers were subject to police stops the Sus laws … this duality gave me a sense of being both an insider and outsider."

Defying the popular image of fashion editors as brash and highly strung, Enninful is measured in tone and projects peace. His path has involved challenges, including publicly shared struggles with mental health and addiction.

He has also undergone significant health challenges, having had multiple operations on his eyes, now leaving him with impaired eyesight. "I experienced such a difficult period for two years, not working, anxious 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 is over, I’m just going to pursue all that I was so fearful to do. I’m not going to confine myself to just being an editor or a fashion person."

A Foray into Curation

This determination to be typecast has propelled him outside the industry that made his name. He is now organising a major 1990s exhibition at Tate Britain, featuring work by a group of pivotal artists and photographers from the era. The show, he explains, aims to evoke the decade's artistic collaboration – and give platform to those who lacked due recognition at the time.

"The establishment didn't always promote the truly innovative creators because they weren't of the right pedigree," he observes.

This project itself operates on a different business model, eschewing traditional advertising in favour of partnership-based projects. "The question is, what can we achieve in partnership? Is it an experience, a podcast? The magazine is part of a greater ecosystem."

A Testament to Resilience

Now, Enninful is regarded as one of the world's most powerful creative power brokers. His path, he feels, is a demonstration to the power of following your instincts.

What would the Edward of the 90s think of the his current self? He laughs heartily. "He would be astonished, but he’d be proud. At that time I was sceptical of institutions. I would not have believed institutions like Tate were necessarily for me."

He adds. "Nothing is assumed. We fled, we left our homeland. I nearly lost my vision. So there is no room for fear. People have doubted me my entire life. But I am unstoppable once I’ve made up my mind to do something."