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

An unexpected discovery on the London Underground in 1988 altered the path of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the city's vibrant 1990s artistic milieu, evolving from mannequin to stylist and, while still a teenager, becoming the style editor of the publication i-D.

"That time was the height of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I felt we’d be kindred spirits. We all socialised across disciplines. Friday bled into Saturday into Sunday. I long for that rawness."

While Enninful may seem sentimental, he is not the only one. Lately, a longing look back of the 1990s has reached fever pitch. However since that time, Enninful perceives a significant change. "In my view, we’re less accepting now than we were in the 90s," he says. "The issue extends beyond this country – it’s worldwide."

A Cultural Backslide

This shift is difficult to overlook: the resurgence of nationalist groups, the pushback against progressive values, and the reassertion of Eurocentric beauty standards. In place of the hope of the previous decade, now a more divisive political personality appears as a potential leader. Furthermore, the Union Jack, once an emblem of cultural optimism, has sparked debate once more.

In Enninful's view, the solution has consistently been to champion 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 wide range of influential figures from music.

"Individuals with a platform should employ it," he comments, explaining those publishing choices. "There is much discussion about immigration; I wouldn't be here if Britain was not a lenient country, if it refused my family a refuge and an opportunity. That’s the Britain I cherished. I believe this moment will fade."

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 had no concept what that was."

His formative years would define a trailblazing career built on fearlessness and inclusivity. Enninful broke barriers as the first male, first Black editor, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His leadership featured historic front pages showcasing Black models, curvy models, an octogenarian, and individuals from all walks of life. Importantly, sales rose.

"To overlook vast segments of the population, it’s not just 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 flagship publication, 72, his key endeavour since leaving his former post. He says he wants to continue being a "innovator".

"My nature is to challenge the conventional wisdom. I was raised in a place where everybody was black – the doctors, the attorneys, the leader. Then we arrived in England, penniless, and I was a minority. I was incredibly timid. My teachers declared I’d never amount to anything. 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 popular image of industry figures as brash and highly strung, Enninful is softly spoken and radiates serenity. His path has not been immune to adversity, including well-documented battles with depression and substance use.

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

The Tate Britain Exhibition

This refusal to fit into a box has led him outside the realm that built his career. He is now curating a major 1990s exhibition at Tate Britain, featuring work by a roster of pivotal 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 due recognition at the time.

"The establishment didn't always celebrate the most relevant talents because they lacked the traditional credentials," he comments.

The magazine 72 itself uses a different business model, forgoing traditional advertising in favour of integrated partnerships. "We ask, what can we create collaboratively? Is it an experience, a series? The magazine is a piece within a greater ecosystem."

Looking Forward Without Fear

Currently, Enninful stands as one of the world's most influential creative power brokers. His path, he feels, is a proof to the power of following your instincts.

How would the younger Edward think of the his current self? He smiles. "He’d be in shock, but he’d be pleased. Back then I was anti-establishment. I never imagined institutions like Tate were necessarily for me."

He adds. "Nothing is assumed. We fled, we left our homeland. I almost lost my vision. So fear isn't an option. People have counted me out my entire life. But nothing can stop me once I’ve made up my mind to do something."