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

A serendipitous meeting while riding the tube in 1988 transformed the trajectory of a young Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was quickly drawn into the London's buzzing 1990s artistic milieu, moving from model to stylist and, before turning twenty, becoming the style editor of the publication i-D.

"That era was the peak of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I understood we’d be close. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I miss that rawness."

If Enninful sounds nostalgic, he is in good company. Recently, a fond idealisation of the 1990s has reached fever pitch. Yet since that time, Enninful perceives a significant change. "In my view, we’re less tolerant now than we were in the 90s," he says. "This isn't just this country – it’s everywhere."

A Cultural Backslide

This change is increasingly evident: the growth of nationalist groups, the pushback against so-called "wokeness", and the reinforcement of narrow beauty standards. In place of the hope of the Blair era, now a more divisive political figure looms as a possible leader. Furthermore, the British flag, once an badge of national pride, has become contentious again.

In Enninful's view, the antidote has always been to promote culture in all its multifaceted forms. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a wide range of prominent faces from politics.

"People with a voice should wield it," he says, referring to those publishing choices. "There is much discussion about immigration; I could not have had this life if Britain was not a lenient country, if it refused my family a home and an opportunity. That’s the Britain I believed in. I believe this moment will fade."

A New Wave of Consciousness

He draws solace in the younger generation: "Their awareness is greater than we were. They talk about systemic issues – I didn't even know what that was."

Those early experiences would shape a groundbreaking career built on boldness and inclusivity. Enninful broke barriers as the first man, first Black editor, first gay man, and first disabled Black gay man to take the helm at British Vogue. His leadership featured historic front pages showcasing models of colour, curvy models, an octogenarian, and individuals from all walks of life. Significantly, sales grew.

"Ignoring huge sections of the population, it’s more than that you’re failing to represent – it’s bad for business," he states.

A New Chapter as a 'Disruptor'

He has recently launched his creative company EE72 and its flagship publication, 72, his key endeavour since leaving his former post. He says he wants to continue being a "innovator".

"My nature is to challenge the conventional wisdom. I was born and raised in a place where Black professionals were the norm – the doctors, the attorneys, the president. Then we arrived in England, penniless, and I became the 'other'. I was very shy. My teachers declared I’d achieve nothing. Me and my brothers were harassed under the suspicion laws … all that gave me a dual identity between worlds."

In contrast to the stereotype of fashion editors as brash and highly strung, Enninful is calm and radiates serenity. His life has not been immune to hardship, including publicly shared struggles with depression and substance use.

He has also faced serious health issues, having had multiple operations on his eyes, leading to impaired eyesight. "I endured such a dark place for two years, not working, anxious I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I thought, if this ever is over, I’m just going to do everything that I was so scared to do. I’m not going to confine myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This drive to be typecast has propelled him outside the industry that established him. He is now putting together a seminal 1990s exhibition at Tate Britain, featuring work by a group of pivotal artists and photographers from the era. The show, he notes, aims to explore the decade's creative cross-pollination – and highlight those who lacked adequate attention at the time.

"Galleries often failed to promote the right artists because they lacked the expected background," he observes.

This project itself operates on a novel strategy, rejecting traditional advertising in favour of creative collaborations. "We ask, what can we create collaboratively? Is it an experience, a podcast? The magazine is a piece within a broader vision."

Looking Forward Without Fear

Currently, Enninful stands as one of the world's most powerful industry leaders. His journey, he feels, is a proof to the power of pursuing your passions.

How would the Edward of the 90s react to the Edward of today? He laughs heartily. "He would be astonished, but he’d be impressed. At that time I was sceptical of institutions. I didn't think institutions like Tate were a place for someone like me."

He pauses. "Gratitude is key. We fled, we left our homeland. I came close to losing my vision. So fear isn't an option. People have doubted me my whole career. But no obstacle is too great once I’ve made up my mind to do something."