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

An unexpected discovery on the London Underground in 1988 transformed the path of a teenage Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the city's electric 1990s cultural landscape, evolving from mannequin to stylist and, while still a teenager, becoming the style editor of the publication i-D.

"That era was the zenith of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I knew we’d be kindred spirits. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I miss that rawness."

Although Enninful appears wistful, he is not the only one. In recent times, a wistful romanticisation of the 1990s has reached fever pitch. Yet in the intervening decades, Enninful perceives a significant change. "In my view, we’re more divided now than we were in the 90s," he says. "It’s not even this country – it’s a global phenomenon."

A Perceived Regression

This regression is increasingly evident: the resurgence of far-right politics, the pushback against social awareness, and the return of narrow beauty standards. Where once there was the optimism of the late 90s, currently a different political force looms as a possible leader. Furthermore, the British flag, once an badge of cultural optimism, has become contentious again.

According to Enninful, the antidote has consistently been to celebrate culture in all its variety. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a broad spectrum of influential figures from literature.

"People with a voice should wield it," he says, referring to those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain was not a welcoming country, if it did not offer my family a refuge and an education. That’s the Britain I believed in. I trust this phase will end."

Hope in the Next Generation

He takes comfort in the youth of today: "They’re much more aware than we were. They analyse systemic issues – I was not even aware what that was."

Those early experiences would define a groundbreaking career marked by fearlessness and inclusivity. Enninful made history as the first man, first Black editor, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His tenure featured diverse covers showcasing Black models, curvy models, older individuals, and people from varied communities. Critically, sales rose.

"When you ignore vast segments of the population, it’s not just that you’re excluding people – it’s commercially unwise," he emphasises.

Beyond the Magazine World

He has established his creative company EE72 and its accompanying magazine, 72, his first major project since moving on from his previous role. He says he wants to continue being a "change-maker".

"I’ve always questioned the conventional wisdom. I was born and raised in a place where the majority was Black – the physicians, the lawyers, the leader. Then we arrived in England, with nothing, and I was a minority. I was very shy. My teachers declared I’d never amount to anything. Me and my brothers were stopped by the police the Sus laws … all that gave me a sense of being on the inside and the outside."

In contrast to the popular image of fashion editors as loud and temperamental, Enninful is measured in tone and radiates serenity. His path has not been immune to hardship, including openly discussed struggles with mental health and substance use.

He has also undergone serious health challenges, having undergone several surgeries on his eyes, leading to impaired eyesight. "I experienced such a time of fear 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 passes, I’m just going to pursue all that I was so afraid to do. I’m not going to restrict myself to just being an editor or a fashion person."

Curating a Cultural Era

This drive to fit into a box has propelled him outside the industry that built his career. He is now curating a significant 1990s exhibition at Tate Britain, featuring work by a group of defining artists and photographers from the era. The show, he notes, aims to capture the decade's creative cross-pollination – and give platform to those who lacked adequate attention at the time.

"Galleries sometimes neglected to celebrate the right artists because they weren't of the expected background," he states.

The magazine 72 itself operates on a different business model, rejecting traditional advertising in favour of creative collaborations. "We ask, what can we do together? Is it an event, a series? The magazine is part of a broader vision."

An Unstoppable Drive

Now, Enninful operates as one of the world's most influential cultural influencers. His story, he feels, is a proof to the power of pursuing your passions.

How would the Edward of the 90s make of the Edward of today? He chuckles. "He’d be in shock, but he’d be impressed. In those days I was anti-establishment. I never imagined institutions like Tate were necessarily for me."

He reflects. "Gratitude is key. We fled, we fled our country. I came close to losing my vision. So there is no room for fear. People have counted me out my whole career. But no obstacle is too great once I’ve decided to do something."