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

A serendipitous meeting during a tube journey in 1988 changed forever the course of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the city's electric 1990s creative scene, moving from mannequin to stylist and, before turning twenty, becoming the fashion director of the iconic i-D.

"That era was the height of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I felt we’d be great friends. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I long for that spontaneity."

If Enninful sounds wistful, he is not the only one. In recent times, a fond idealisation of the 1990s has become pervasive. Yet over the last thirty years, Enninful believes a profound shift. "I feel, we’re more divided now than we were in the 90s," he observes. "This isn't just this country – it’s a global phenomenon."

A Cultural Backslide

This shift is hard to ignore: the growth of populist movements, the pushback against progressive values, and the return of narrow beauty standards. Replacing the hope of the Blair era, now a more divisive political force stands as a possible leader. Even, the Union Jack, once an symbol of national pride, has returned as a polarising symbol.

In Enninful's view, the solution has always been to celebrate culture in all its multifaceted forms. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a broad spectrum of cultural icons from politics.

"Individuals with a platform should use it," he says, referring to those publishing choices. "People often debate about immigration; I could not have had this life if Britain was not a lenient country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I always loved. I hope this period will pass."

Hope in the Next Generation

He draws solace in the younger generation: "Their awareness is greater than we were. They talk about systemic issues – I had no concept what that was."

His formative years would define a groundbreaking career built on fearlessness and diversity. Enninful set a precedent as the first male, first black man, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His time featured historic front pages showcasing Black models, curvy models, older individuals, and individuals from varied communities. Importantly, sales increased.

"To overlook large portions of the population, it’s more than that you’re not being inclusive – it’s a poor strategy," he emphasises.

Launching a Creative Venture

He has recently launched his agency EE72 and its flagship publication, 72, his first major project since departing his former post. He states his aim to continue being a "innovator".

"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 became the 'other'. I was painfully reserved. My teachers declared I’d never amount to anything. Me and my brothers were stopped by the police the Sus laws … those experiences gave me a unique perspective both an insider and outsider."

Defying the stereotype of industry figures as brash and temperamental, Enninful is softly spoken and radiates serenity. His life has involved hardship, including well-documented battles with mental health and addiction.

He has also faced significant health challenges, having undergone several surgeries on his eyes, now leaving him with partial sight. "I experienced such a dark place for two years, away from work, anxious I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I thought, if this ever passes, I’m just going to do everything that I was so afraid to do. I’m not going to confine myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This determination to be defined narrowly has inspired him away from the industry that made his name. He is now putting together a seminal 1990s exhibition at Tate Britain, featuring work by a host of defining artists and photographers from the era. The show, he explains, aims to explore the decade's artistic collaboration – and highlight those who did not receive adequate attention at the time.

"The establishment sometimes neglected to promote the most relevant talents because they did not have the expected background," he states.

This venture itself functions with a different strategy, forgoing traditional advertising in favour of integrated partnerships. "Our approach is, what can we achieve in partnership? Is it an event, a series? The magazine is part of a greater ecosystem."

An Unstoppable Drive

Today, Enninful stands as one of the world's most respected creative power brokers. His path, he feels, is a proof to the power of defying expectations.

How would the younger Edward react to the his current self? He laughs heartily. "He’d be in shock, but he’d be proud. In those days I was anti-establishment. I never imagined institutions like Tate were necessarily for me."

He reflects. "Gratitude is key. We were displaced, we left our homeland. I nearly lost my vision. So fear isn't an option. People have counted me out my whole career. But no obstacle is too great once I’ve set my intention to do something."