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

An unexpected discovery during a tube journey in 1988 changed forever the trajectory of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the city's buzzing 1990s cultural landscape, evolving from mannequin to stylist and, while still a teenager, becoming the style editor of the publication i-D.

"It was the peak of the Young British Artists – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I felt we’d be kindred spirits. We all socialised across disciplines. Friday became Saturday into Sunday. I yearn for that spontaneity."

While Enninful may seem sentimental, he is not the only one. In recent times, a longing look back of the 1990s has become pervasive. However since that time, Enninful feels a noticeable regression. "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 Perceived Regression

This regression is difficult to overlook: the rise of nationalist groups, the reaction against social awareness, and the reinforcement of Eurocentric beauty standards. Where once there was the optimism of the previous decade, currently a different political personality appears as a possible leader. Even, the British flag, once an symbol of cultural optimism, has become contentious again.

According to Enninful, the solution has consistently been to champion culture in all its multifaceted forms. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a diverse array of prominent faces from art.

"Those in a position of influence should employ it," he comments, discussing those publishing choices. "People often debate about immigration; I could not have had this life if Britain were not a welcoming country, if it did not offer my family a home and an education. That’s the Britain I always loved. I hope this period will pass."

Hope in the Next Generation

He finds hope in the younger generation: "They’re much more aware than we were. They talk about implicit prejudice – I was not even aware what that was."

His formative years would define a pioneering career built on boldness and diversity. Enninful made history 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, plus-sized women, an octogenarian, and individuals from all walks of life. Critically, sales increased.

"Ignoring large portions of the population, it’s more than that you’re excluding people – it’s commercially unwise," he emphasises.

Launching a Creative Venture

He has established his creative company EE72 and its accompanying magazine, 72, his key endeavour since leaving his previous role. He expresses a desire to continue being a "disruptor".

"My nature is to challenge the status quo. I was raised in a place where the majority was Black – the doctors, the lawyers, the president. Then we arrived in England, with nothing, and I became the 'other'. I was incredibly timid. My teachers predicted I’d never amount to anything. Me and my brothers were subject to police stops the Sus laws … all that gave me a sense of being both an insider and outsider."

In contrast to the stereotype of industry figures as brash and temperamental, Enninful is softly spoken and projects peace. His life has not been immune to adversity, including publicly shared struggles with mental health and addiction.

He has also undergone serious health challenges, having had multiple operations on his eyes, now leaving him with limited vision. "I endured such a time of fear for two years, away from work, terrified I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I vowed, if this ever passes, 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 fashion person."

The Tate Britain Exhibition

This refusal to be defined narrowly has led him away from the industry that established him. He is now curating a major 1990s exhibition at Tate Britain, bringing together work by a roster of pivotal artists and photographers from the era. The show, he says, aims to explore the decade's artistic collaboration – and give platform to those who lacked due recognition at the time.

"Institutions sometimes neglected to celebrate the most relevant talents because they lacked the traditional credentials," he states.

The magazine 72 itself uses a different approach, rejecting traditional advertising in favour of partnership-based projects. "We ask, what can we do together? Is it an event, a series? The magazine is part of a larger creative platform."

An Unstoppable Drive

Currently, Enninful stands as one of the world's most influential creative power brokers. His journey, he feels, is a demonstration to the power of following your instincts.

How would the Enninful of that era think of the his current self? He laughs heartily. "It would be a surprise, but he’d be proud. Back then I was sceptical of institutions. I would not have believed institutions like Tate were within my reach."

He reflects. "I never take anything for granted. We fled, we left our homeland. I nearly lost my vision. So fear is not a factor. People have underestimated me my whole career. But I am unstoppable once I’ve decided to do something."