Edward Enninful discusses Modern Britain: 'A Decline in Tolerance' Than We Were Decades Ago.

A serendipitous meeting during a tube journey 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 vibrant 1990s creative scene, moving from mannequin to stylist and, by the age of 18, becoming the style editor of the iconic i-D.

"That time was the zenith of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I felt we’d be close. We all mixed across disciplines. Friday bled into Saturday into Sunday. I long for that rawness."

While Enninful may seem wistful, he is far from alone. Recently, a wistful romanticisation of the 1990s has become pervasive. Yet over the last thirty years, Enninful feels a noticeable regression. "I believe, we’re less tolerant now than we were in the 90s," he observes. "It’s not even this country – it’s everywhere."

A Cultural Backslide

This regression is difficult to overlook: the growth of far-right politics, the reaction against social awareness, and the return of traditional beauty standards. Replacing the hope of the Blair era, now a different political figure appears as a possible leader. Even, the British flag, once an symbol of Cool Britannia, has become contentious again.

According to Enninful, the solution has consistently been to celebrate culture in all its multifaceted forms. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a diverse array of cultural icons from politics.

"Individuals with a platform should wield it," he says, discussing those editorial decisions. "People often debate about immigration; I would not be in this position if Britain were not a welcoming country, if it refused my family a home and an education. That’s the Britain I cherished. I believe this moment will pass."

A New Wave of Consciousness

He takes comfort in the younger generation: "Their awareness is greater than we were. They analyse unconscious bias – I didn't even know what that was."

His formative years would shape a trailblazing career built on boldness and representation. Enninful made history as the first man, first Black editor, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His tenure featured historic front pages showcasing models of colour, curvy models, an octogenarian, and individuals from varied communities. Critically, sales grew.

"Ignoring vast segments of the population, it’s not just that you’re failing to represent – it’s commercially unwise," he explains.

A New Chapter as a 'Disruptor'

He has recently launched his new venture EE72 and its flagship publication, 72, his premier initiative since leaving his former post. He expresses a desire to continue being a "change-maker".

"I constantly interrogate the conventional wisdom. I was brought up in a place where everybody was black – the physicians, the lawyers, the leader. Then we arrived in England, without funds, and I was a minority. I was painfully reserved. My teachers said I’d achieve nothing. Me and my brothers were harassed under the suspicion laws … those experiences gave me a unique perspective between worlds."

Contrary to the caricature of industry figures as brash and temperamental, Enninful is calm and projects peace. His journey has not been immune to adversity, including well-documented periods of mental health and addiction.

He has also faced serious health issues, having undergone several surgeries on his eyes, resulting in limited vision. "I experienced such a difficult period for two years, not working, 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 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 figure in fashion."

The Tate Britain Exhibition

This refusal to fit into a box has inspired him beyond the realm that established him. 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 explains, aims to evoke the decade's artistic collaboration – and give platform to those who weren't given a spotlight at the time.

"Institutions 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, eschewing traditional advertising in favour of integrated partnerships. "We ask, what can we create collaboratively? Is it an event, a podcast? The magazine is part of a larger creative platform."

An Unstoppable Drive

Today, Enninful operates as one of the world's most respected creative power brokers. His journey, he states, is a proof to the power of pursuing your passions.

What would the Edward of the 90s think of the Edward of today? He chuckles. "He’d be in shock, but he’d be pleased. In those days I was sceptical of institutions. I didn't think institutions like Tate were within my reach."

He pauses. "Nothing is assumed. We were displaced, we fled our country. I nearly lost my vision. So fear isn't an option. People have counted me out my whole career. But I am unstoppable once I’ve decided to do something."