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

A chance encounter on the London Underground in 1988 transformed the trajectory of a young Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the London's vibrant 1990s cultural landscape, progressing from mannequin to stylist and, by the age of 18, becoming the fashion director of i-D magazine.

"It was the peak of the Young British Artists – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I felt we’d be close. We all mixed across disciplines. Friday became Saturday into Sunday. I yearn for that rawness."

If Enninful sounds sentimental, he is not the only one. Lately, a fond idealisation of the 1990s has grown intense. But since that time, Enninful perceives a noticeable regression. "I feel, we’re more divided now than we were in the 90s," he remarks. "This isn't just this country – it’s everywhere."

A Perceived Regression

This regression is increasingly evident: the growth of populist movements, the backlash against social awareness, and the reinforcement of Eurocentric beauty standards. Where once there was the hope of the previous decade, currently a different political personality stands as a potential leader. Even, the Union Jack, once an emblem of Cool Britannia, has sparked debate once more.

For Enninful, the solution has always been to champion culture in all its diversity. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a broad spectrum of cultural icons from music.

"People with a voice should wield it," he says, referring to those publishing choices. "People often debate about immigration; I could not have had this life if Britain were not a lenient country, if it hadn't given my family a home and an education. That’s the Britain I always loved. I believe this moment will fade."

The Younger Generation's Awareness

He draws solace in the youth of today: "They are far more conscious than we were. They analyse systemic issues – I was not even aware what that was."

His formative years would shape a pioneering career built on fearlessness and representation. Enninful made history as the first male, first black man, first gay man, and first disabled gay man of colour to lead at British Vogue. His time featured historic front pages showcasing models of colour, plus-sized women, an octogenarian, and individuals from all walks of life. Importantly, sales grew.

"To overlook huge sections of the population, it’s not just that you’re excluding people – it’s commercially unwise," he states.

Beyond the Magazine World

He has since founded his creative company EE72 and its flagship publication, 72, his premier initiative since moving on from his former post. He states his aim to continue being a "change-maker".

"I’ve always questioned the status quo. I was brought up in a place where everybody was black – the physicians, the attorneys, the leader. Then we arrived in England, without funds, and I found myself on the margins. I was incredibly timid. My teachers declared I’d achieve nothing. 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 caricature of industry figures as brash and highly strung, Enninful is measured in tone and exudes calm. His life has included its share of challenges, including well-documented periods of mental health and addiction.

He has also faced serious health challenges, having had multiple operations on his eyes, now leaving him with limited vision. "I endured such a time of fear for two years, away from work, terrified I was going to go blind. It’s like PTSD; you just live in fear 24/7. I prayed, if this ever ends, I’m just going to do everything that I was so fearful to do. I’m not going to confine myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This determination to be defined narrowly has inspired him beyond the industry that built his career. He is now putting together a seminal 1990s exhibition at Tate Britain, showcasing work by a host of defining artists and photographers from the era. The show, he notes, aims to evoke the decade's interdisciplinary energy – and give platform to those who did not receive a spotlight at the time.

"Galleries often failed to celebrate the most relevant talents because they weren't of the traditional credentials," he observes.

This venture itself functions with a unique approach, rejecting traditional advertising in favour of partnership-based projects. "The question is, what can we do together? Is it an event, a podcast? The magazine is a piece within a greater ecosystem."

A Testament to Resilience

Now, Enninful is regarded as one of the world's most influential creative power brokers. His story, he feels, is a demonstration to the power of pursuing your passions.

What would the younger Edward think of the Edward of today? He smiles. "He would be astonished, but he’d be pleased. In those days I was sceptical of institutions. I would not have believed institutions like Tate were within my reach."

He reflects. "Gratitude is key. We were displaced, we fled our country. I nearly lost my vision. So fear is not a factor. People have underestimated me my whole career. But I am unstoppable once I’ve made up my mind to do something."