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

A chance encounter on the London Underground in 1988 altered the trajectory of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the city's electric 1990s cultural landscape, progressing from model to stylist and, before turning twenty, becoming the fashion director of the iconic i-D.

"It was the height of the Britart scene – Tracey Emin, Jay Jopling. 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 mixed across disciplines. Friday became Saturday into Sunday. I long for that spontaneity."

If Enninful sounds sentimental, he is far from alone. In recent times, a wistful romanticisation of the 1990s has grown intense. Yet since that time, Enninful perceives a significant change. "I believe, we’re less tolerant now than we were in the 90s," he observes. "It’s not even this country – it’s a global phenomenon."

A Cultural Backslide

This regression is increasingly evident: the growth of far-right politics, the reaction against so-called "wokeness", and the reassertion of traditional beauty standards. In place of the hope of the late 90s, now a different political force appears as a possible leader. Furthermore, the British flag, once an badge of cultural optimism, has sparked debate once more.

In Enninful's view, the solution has always been to celebrate culture in all its multifaceted forms. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a diverse array of cultural icons from music.

"Individuals with a platform should wield it," he asserts, discussing those publishing choices. "People often debate about immigration; I wouldn't be here if Britain hadn't been a welcoming country, if it refused my family a refuge and an education. That’s the Britain I always loved. I believe this phase will pass."

The Younger Generation's Awareness

He finds hope in the younger generation: "Their awareness is greater than we were. They talk about implicit prejudice – I had no concept what that was."

The beginnings of his career would define a trailblazing career marked by fearlessness and diversity. Enninful made history as the first male, first black man, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His leadership featured historic front pages showcasing Black models, curvy models, an octogenarian, and people from all walks of life. Significantly, sales rose.

"To overlook vast segments of the population, it’s more than that you’re excluding people – it’s bad for business," he states.

Launching a Creative Venture

He has established his creative company EE72 and its accompanying magazine, 72, his key endeavour since moving on from his previous role. He states his aim to continue being a "disruptor".

"My nature is to challenge the conventional wisdom. I was raised in a place where everybody was black – the doctors, the lawyers, the leader. Then we came to England, without funds, and I was a minority. I was incredibly timid. My teachers said I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … this duality gave me a unique perspective between worlds."

Contrary to the caricature of industry figures as brash and temperamental, Enninful is calm and radiates serenity. His journey has involved hardship, including openly discussed battles with mental health and addiction.

He has also endured serious health issues, having had multiple operations on his eyes, resulting in limited vision. "I was in such a time of fear for two years, away from work, anxious I was going to go blind. It’s like PTSD; you just live in fear 24/7. I thought, if this ever ends, I’m just going to do everything 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 led him beyond the industry that built his career. He is now curating a significant 1990s exhibition at Tate Britain, bringing together work by a host of defining artists and photographers from the era. The show, he explains, aims to explore the decade's interdisciplinary energy – and spotlight those who did not receive due recognition at the time.

"The establishment didn't always promote the truly innovative creators because they lacked the expected background," he comments.

This project itself operates on a different approach, forgoing traditional advertising in favour of integrated partnerships. "We ask, what can we create collaboratively? Is it an experience, a podcast? The magazine is part of a larger creative platform."

Looking Forward Without Fear

Now, Enninful stands as one of the world's most respected cultural influencers. His journey, he states, is a proof to the power of defying expectations.

How would the younger Edward make of the his current self? He smiles. "It would be a surprise, but he’d be impressed. In those days I was sceptical of institutions. I would not have believed institutions like Tate were necessarily for me."

He adds. "Gratitude is key. We lost our home, we left our homeland. I nearly lost my vision. So fear isn't an option. People have doubted me my entire life. But no obstacle is too great once I’ve set my intention to do something."