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

An unexpected discovery during a tube journey in 1988 changed forever the trajectory of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the capital's vibrant 1990s cultural landscape, evolving from mannequin to stylist and, while still a teenager, becoming the style editor of the iconic i-D.

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

If Enninful sounds nostalgic, he is not the only one. Recently, a wistful romanticisation of the 1990s has reached fever pitch. However since that time, Enninful feels a profound shift. "I believe, we’re less accepting now than we were in the 90s," he remarks. "It’s not even this country – it’s everywhere."

A Cultural Backslide

This regression is difficult to overlook: the rise of nationalist groups, the backlash against so-called "wokeness", and the reassertion of traditional beauty standards. Replacing the hope of the previous decade, currently a different political personality looms as a potential leader. Even, the British flag, once an badge of cultural optimism, has returned as a polarising symbol.

In Enninful's view, the antidote has long been to champion culture in all its diversity. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a diverse array of cultural icons from art.

"Those in a position of influence should wield it," he says, explaining those editorial decisions. "Everyone talks about immigration; I would not be in this position if Britain were not a lenient country, if it did not offer my family a home and an education. That’s the Britain I cherished. I believe this period will pass."

The Younger Generation's Awareness

He draws solace in the younger generation: "They are far more conscious than we were. They discuss implicit prejudice – I didn't even know what that was."

Those early experiences would shape a groundbreaking career marked by fearlessness and representation. Enninful set a precedent as the first man, first black man, first openly gay person, and first disabled Black gay man to lead at British Vogue. His time featured landmark covers showcasing models of colour, plus-sized women, an octogenarian, and individuals from all walks of life. Critically, sales rose.

"When you ignore large portions of the population, it’s not just that you’re excluding people – it’s a poor strategy," he states.

Beyond the Magazine World

He has recently launched his creative company EE72 and its accompanying magazine, 72, his premier initiative since departing his former post. He expresses a desire to continue being a "innovator".

"I’ve always questioned the status quo. I was born and raised in a place where the majority was Black – the physicians, the lawyers, the president. Then we came to England, without funds, and I became the 'other'. I was incredibly timid. My teachers said I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … those experiences gave me a dual identity on the inside and the outside."

Contrary to the stereotype of industry figures as loud and highly strung, Enninful is calm and exudes calm. His life has included its share of challenges, including openly discussed struggles with mental health and addiction.

He has also endured significant health challenges, having undergone several surgeries on his eyes, leading to impaired eyesight. "I endured such a dark place for two years, not working, terrified I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I prayed, if this ever ends, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to limit myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This drive to fit into a box has inspired him beyond the industry that established him. He is now putting together a seminal 1990s exhibition at Tate Britain, featuring work by a group of influential artists and photographers from the era. The show, he notes, aims to capture the decade's artistic collaboration – and highlight those who did not receive due recognition at the time.

"The establishment often failed to celebrate the most relevant talents because they lacked the expected background," he observes.

This project itself operates on a novel business model, eschewing traditional advertising in favour of partnership-based projects. "Our approach is, 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 is regarded as one of the world's most influential industry leaders. His story, he states, is a demonstration to the power of defying expectations.

What would the Enninful of that era make of the man he has become? He laughs heartily. "It would be a surprise, but he’d be impressed. Back then I was a rebel. I would not have believed institutions like Tate were a place for someone like me."

He adds. "Gratitude is key. We were displaced, we fled our country. I came close to losing my vision. So fear is not a factor. People have counted me out my entire life. But nothing can stop me once I’ve decided to do something."