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

A chance encounter on the London Underground in 1988 transformed the trajectory of a teenage Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the London's vibrant 1990s creative scene, evolving from mannequin to stylist and, by the age of 18, becoming the fashion director of the publication i-D.

"It was the zenith of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I understood we’d be close. We all hung out across disciplines. Friday bled into Saturday into Sunday. I miss that energy."

If Enninful sounds sentimental, he is in good company. In recent times, a fond idealisation of the 1990s has reached fever pitch. Yet in the intervening decades, Enninful perceives a noticeable regression. "I feel, we’re more divided now than we were in the 90s," he remarks. "This isn't just this country – it’s worldwide."

A Cultural Backslide

This regression is difficult to overlook: the rise of populist movements, the reaction against so-called "wokeness", and the return of Eurocentric beauty standards. Where once there was the hope of the Blair era, now a more divisive political figure looms as a potential leader. Even, the British flag, once an symbol of cultural optimism, has sparked debate once more.

In Enninful's view, the antidote has consistently been to celebrate culture in all its diversity. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a diverse array of influential figures from music.

"Individuals with a platform should employ it," he says, referring to those publishing choices. "There is much discussion about immigration; I would not be in this position if Britain was not a open country, if it hadn't given my family a refuge and an education. That’s the Britain I believed in. I believe this moment will fade."

Hope in the Next Generation

He finds hope in the youth of today: "Their awareness is greater than we were. They analyse implicit prejudice – I didn't even know what that was."

His formative years would shape a pioneering career built on fearlessness and representation. Enninful set a precedent as the first male, first Black editor, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His tenure featured landmark covers showcasing Black models, plus-sized women, 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 not being inclusive – it’s a poor strategy," he explains.

Beyond the Magazine World

He has recently launched his creative company EE72 and its flagship publication, 72, his first major project since departing his previous role. He states his aim to continue being a "innovator".

"I’ve always questioned the status quo. I was born and raised in a place where everybody was black – the physicians, the attorneys, the leader. Then we arrived in England, with nothing, and I became the 'other'. I was incredibly timid. My teachers predicted I’d achieve nothing. Me and my brothers were subject to police stops the Sus laws … this duality gave me a dual identity on the inside and the outside."

Defying the caricature of industry figures as brash and temperamental, Enninful is measured in tone and radiates serenity. His life has not been immune to hardship, including well-documented periods of mental health and substance use.

He has also endured serious health challenges, having had multiple operations on his eyes, now leaving him with impaired eyesight. "I experienced such a difficult period for two years, away from work, anxious I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I vowed, if this ever is over, I’m just going to pursue all that I was so fearful to do. I’m not going to limit myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This drive to be defined narrowly has propelled him beyond the world that made his name. He is now organising a significant 1990s exhibition at Tate Britain, bringing together work by a group of defining artists and photographers from the era. The show, he says, aims to evoke the decade's interdisciplinary energy – and spotlight those who weren't given due recognition at the time.

"Galleries sometimes neglected to promote the right artists because they lacked the right pedigree," he observes.

The magazine 72 itself functions with a different approach, forgoing traditional advertising in favour of integrated partnerships. "We ask, what can we achieve in partnership? Is it an experience, a series? The magazine is part of a greater ecosystem."

Looking Forward Without Fear

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

How would the Edward of the 90s think of the man he has become? He chuckles. "He would be astonished, but he’d be pleased. Back then I was sceptical of institutions. I would not have believed institutions like Tate were a place for someone like me."

He adds. "Nothing is assumed. We were displaced, we left our homeland. I nearly lost my vision. So fear isn't an option. People have doubted me my whole career. But nothing can stop me once I’ve set my intention to do something."