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

A serendipitous meeting on the London Underground in 1988 changed forever the course of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the London's vibrant 1990s cultural landscape, evolving from model to stylist and, by the age of 18, becoming the fashion director of the publication i-D.

"That era was the zenith of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I knew we’d be close. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I long for that energy."

Although Enninful appears nostalgic, he is not the only one. In recent times, a longing look back of the 1990s has grown intense. Yet since that time, Enninful perceives a profound shift. "In my view, we’re less accepting now than we were in the 90s," he remarks. "It’s not even this country – it’s a global phenomenon."

A Perceived Regression

This shift is hard to ignore: the growth of far-right politics, the reaction against social awareness, and the return of traditional beauty standards. Replacing the optimism of the late 90s, today a more divisive political personality looms as a potential leader. Furthermore, the British flag, once an badge of Cool Britannia, has become contentious again.

For Enninful, the response has long been to celebrate culture in all its multifaceted forms. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a diverse array of prominent faces from art.

"People with a voice should wield it," he comments, explaining those editorial decisions. "People often debate about immigration; I would not be in this position if Britain hadn't been a open country, if it did not offer my family a refuge and an education. That’s the Britain I believed in. I trust this moment will fade."

Hope in the Next Generation

He draws solace in the youth of today: "They’re much more aware than we were. They talk about implicit prejudice – I had no concept what that was."

The beginnings of his career would forge a groundbreaking career built on boldness and diversity. Enninful broke barriers as the first male, first black man, first gay man, and first disabled Black gay man to lead at British Vogue. His tenure featured diverse covers showcasing models of colour, curvy models, an octogenarian, and people from all walks of life. Importantly, sales rose.

"To overlook huge sections of the population, it’s not just that you’re failing to represent – it’s a poor strategy," he explains.

A New Chapter as a 'Disruptor'

He has since founded 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’ve always questioned the status quo. I was brought up in a place where everybody was black – the doctors, the attorneys, the leader. Then we arrived in England, penniless, and I was a minority. I was incredibly timid. My teachers declared I’d never amount to anything. Me and my brothers were subject to police stops the suspicion laws … all that gave me a sense of being between worlds."

Defying the popular image of fashion editors as loud and temperamental, Enninful is measured in tone and exudes calm. His path has involved challenges, including well-documented struggles with mental health and substance use.

He has also endured serious health issues, having had multiple operations on his eyes, now leaving him with impaired eyesight. "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 prayed, if this ever is over, I’m just going to pursue all that I was so fearful to do. I’m not going to confine myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This refusal to be defined narrowly has inspired him away from the world that built his career. He is now putting together a significant 1990s exhibition at Tate Britain, showcasing work by a group of influential artists and photographers from the era. The show, he notes, aims to capture the decade's creative cross-pollination – and spotlight those who did not receive a spotlight at the time.

"Galleries didn't always celebrate the right artists because they did not have the traditional credentials," he observes.

The magazine 72 itself operates on a different business model, rejecting traditional advertising in favour of integrated partnerships. "We ask, what can we create collaboratively? Is it an experience, a podcast? The magazine is one component of a larger creative platform."

An Unstoppable Drive

Today, Enninful operates as one of the world's most powerful creative power brokers. His path, he states, is a demonstration to the power of pursuing your passions.

How would the younger Edward react to the his current self? He smiles. "He would be astonished, but he’d be impressed. Back then I was a rebel. I would not have believed institutions like Tate were necessarily for me."

He reflects. "Nothing is assumed. We lost our home, we fled our country. I came close to losing my vision. So fear is not a factor. People have counted me out my whole career. But nothing can stop me once I’ve decided to do something."