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

A chance encounter on the London Underground in 1988 changed forever the trajectory of a young Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the city's buzzing 1990s cultural landscape, progressing from mannequin to stylist and, before turning twenty, becoming the style editor of the publication i-D.

"That time was the zenith of the YBA movement – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I felt we’d be kindred spirits. We all hung out across disciplines. Friday bled into Saturday into Sunday. I yearn for that spontaneity."

If Enninful sounds nostalgic, he is far from alone. Lately, a fond idealisation of the 1990s has reached fever pitch. However since that time, Enninful feels a significant change. "In my view, we’re less accepting now than we were in the 90s," he says. "It’s not even this country – it’s everywhere."

A Cultural Backslide

This change is hard to ignore: the growth of populist movements, the pushback against social awareness, and the reassertion of narrow beauty standards. In place of the optimism of the Blair era, today a more divisive political personality looms as a possible leader. Even, the Union Jack, once an emblem of cultural optimism, has returned as a polarising symbol.

According to Enninful, the response has consistently been to champion culture in all its variety. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a diverse array of influential figures from literature.

"Those in a position of influence should wield it," he asserts, referring to those editorial decisions. "People often debate about immigration; I wouldn't be here if Britain was not a open country, if it hadn't given my family a home and an education. That’s the Britain I believed in. I believe this period will end."

The Younger Generation's Awareness

He finds hope in the next generation: "They’re much more aware than we were. They discuss unconscious bias – I had no concept what that was."

His formative years would define a pioneering career characterised by boldness and inclusivity. Enninful broke barriers 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 landmark covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and individuals from varied communities. Critically, sales increased.

"When you ignore large portions of the population, it’s not just that you’re failing to represent – it’s bad for business," he states.

Beyond the Magazine World

He has established his agency EE72 and its accompanying magazine, 72, his first major project since moving on from his previous role. He expresses a desire to continue being a "change-maker".

"I constantly interrogate the established norms. I was raised in a place where the majority was Black – the doctors, the lawyers, the president. Then we came to England, without funds, and I found myself on the margins. I was incredibly timid. My teachers predicted I’d never amount to anything. Me and my brothers were subject to police stops the suspicion laws … those experiences gave me a sense of being between worlds."

In contrast to the caricature of industry figures as brash and highly strung, Enninful is measured in tone and projects peace. His life has not been immune to adversity, including well-documented periods of mental health and substance use.

He has also faced serious health challenges, having had multiple operations on his eyes, resulting in limited vision. "I was in such a difficult period for two years, not working, fearing I was going to lose my sight. 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 scared to do. I’m not going to limit myself to just being an editor or a figure in fashion."

A Foray into Curation

This determination to be defined narrowly has inspired him beyond the industry that built his career. He is now organising a seminal 1990s exhibition at Tate Britain, bringing together work by a group of pivotal artists and photographers from the era. The show, he explains, aims to explore the decade's interdisciplinary energy – and give platform to those who weren't given due recognition at the time.

"Galleries often failed to promote the right artists because they weren't of the expected background," he observes.

The magazine 72 itself uses a novel strategy, rejecting traditional advertising in favour of partnership-based projects. "We ask, what can we achieve in partnership? Is it an event, a series? The magazine is a piece within a broader vision."

Looking Forward Without Fear

Now, Enninful operates as one of the world's most powerful creative power brokers. His journey, he feels, is a testament to the power of following your instincts.

What would the Edward of the 90s make of the man he has become? He laughs heartily. "He would be astonished, but he’d be pleased. At that time I was sceptical of institutions. I would not have believed institutions like Tate were a place for someone like me."

He pauses. "I never take anything for granted. We fled, we fled our country. I nearly lost my vision. So there is no room for fear. People have underestimated me my whole career. But no obstacle is too great once I’ve set my intention to do something."