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

An unexpected discovery during a tube journey in 1988 transformed the path of a young Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the city's buzzing 1990s cultural landscape, moving from model to stylist and, before turning twenty, becoming the style editor of i-D magazine.

"It was the zenith of the Young British Artists – 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 great friends. We all socialised across disciplines. Friday bled into Saturday into Sunday. I miss that energy."

While Enninful may seem wistful, he is in good company. Recently, a fond idealisation of the 1990s has become pervasive. Yet over the last thirty years, Enninful feels a significant change. "In my view, 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 increasingly evident: the rise of nationalist groups, the reaction against progressive values, and the reinforcement of traditional beauty standards. In place of the optimism of the late 90s, now a different political figure appears as a possible leader. Furthermore, the British flag, once an emblem of Cool Britannia, has become contentious again.

For Enninful, the antidote has always been to champion culture in all its variety. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a diverse array of influential figures from politics.

"People with a voice should employ it," he says, discussing those publishing choices. "There is much discussion 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 opportunity. That’s the Britain I cherished. I hope this moment will pass."

The Younger Generation's Awareness

He draws solace in the next generation: "Their awareness is greater than we were. They discuss unconscious bias – I didn't even know what that was."

Those early experiences would shape a groundbreaking career marked by fearlessness and representation. Enninful set a precedent as the first man, first black man, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His time featured historic front pages showcasing models of colour, plus-sized women, older individuals, and individuals from varied communities. Significantly, sales rose.

"To overlook huge sections of the population, it’s not just that you’re excluding people – it’s bad for business," he states.

A New Chapter as a 'Disruptor'

He has established his creative company EE72 and its accompanying magazine, 72, his premier initiative since departing his former post. He expresses a desire to continue being a "disruptor".

"I constantly interrogate the conventional wisdom. I was raised in a place where Black professionals were the norm – the physicians, the lawyers, the leader. Then we came to England, without funds, and I found myself on the margins. I was painfully reserved. My teachers predicted I’d have no future. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a unique perspective between worlds."

In contrast to the stereotype of fashion editors as brash and highly strung, Enninful is measured in tone and exudes calm. His journey has not been immune to adversity, including publicly shared periods of depression and addiction.

He has also faced significant health issues, having had multiple operations on his eyes, now leaving him with limited vision. "I experienced such a time of fear for two years, not working, fearing I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I prayed, if this ever ends, I’m just going to pursue all that I was so afraid to do. I’m not going to restrict myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This refusal to be typecast has led him outside the realm that built his career. He is now putting together a major 1990s exhibition at Tate Britain, showcasing work by a host of influential artists and photographers from the era. The show, he explains, aims to capture the decade's creative cross-pollination – and spotlight those who weren't given adequate attention at the time.

"Institutions sometimes neglected to celebrate the most relevant talents because they lacked the expected background," he observes.

This venture itself functions with a novel business model, forgoing traditional advertising in favour of integrated partnerships. "The question is, what can we create collaboratively? Is it an experience, a podcast? The magazine is part of a larger creative platform."

A Testament to Resilience

Now, Enninful operates as one of the world's most influential industry leaders. His story, he states, is a testament to the power of pursuing your passions.

How would the younger Edward react to the Edward of today? He smiles. "He’d be in shock, but he’d be pleased. In those days I was sceptical of institutions. I would not have believed institutions like Tate were a place for someone like me."

He pauses. "I never take anything for granted. We lost our home, we left our homeland. I nearly lost my vision. So fear isn't an option. People have counted me out my whole career. But I am unstoppable once I’ve decided to do something."