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

An unexpected discovery while riding the tube in 1988 transformed the course of a teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the London's electric 1990s cultural landscape, evolving from model to stylist and, before turning twenty, becoming the fashion director of i-D magazine.

"That era was the zenith of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I knew we’d be close. We all mixed across disciplines. Friday became Saturday into Sunday. I miss that rawness."

Although Enninful appears wistful, he is far from alone. Lately, a longing look back of the 1990s has reached fever pitch. However over the last thirty years, Enninful believes a significant change. "I believe, we’re more divided now than we were in the 90s," he says. "This isn't just this country – it’s a global phenomenon."

Shifting Attitudes

This change is difficult to overlook: the resurgence of far-right politics, the pushback against social awareness, and the reinforcement of narrow beauty standards. Where once there was the optimism of the previous decade, currently a different political figure looms as a potential leader. Furthermore, the Union Jack, once an emblem of cultural optimism, has sparked debate once more.

According to Enninful, the response has long been to celebrate culture in all its variety. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a wide range of influential figures from music.

"People with a voice should employ it," he says, referring to those publishing choices. "There is much discussion about immigration; I wouldn't be here if Britain hadn't been a welcoming country, if it refused my family a home and an education. That’s the Britain I believed in. I trust this period will end."

The Younger Generation's Awareness

He takes comfort in the next generation: "They are far more conscious than we were. They analyse implicit prejudice – I was not even aware what that was."

The beginnings of his career would define a pioneering career built on fearlessness and inclusivity. Enninful broke barriers as the first man, first black man, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His leadership featured landmark covers showcasing Black models, plus-sized women, an octogenarian, and people from varied communities. Importantly, sales rose.

"When you ignore large portions of the population, it’s not just that you’re failing to represent – it’s bad for business," he explains.

Launching a Creative Venture

He has established his new venture EE72 and its flagship publication, 72, his premier initiative since moving on from his previous role. He expresses a desire to continue being a "innovator".

"I constantly interrogate the established norms. I was brought up in a place where Black professionals were the norm – the doctors, the lawyers, the president. Then we arrived in England, without funds, and I was a minority. I was incredibly timid. My teachers said I’d never amount to anything. Me and my brothers were stopped by the police the Sus laws … all that gave me a unique perspective both an insider and outsider."

Defying the stereotype of fashion editors as brash and highly strung, Enninful is measured in tone and exudes calm. His life has involved adversity, including publicly shared struggles with mental health and substance use.

He has also faced serious health challenges, having had multiple operations on his eyes, resulting in partial sight. "I experienced such a time of fear for two years, not working, anxious I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I prayed, if this ever passes, I’m just going to do everything that I was so scared to do. I’m not going to restrict myself to just being an editor or a fashion person."

A Foray into Curation

This refusal to be defined narrowly has propelled him outside the industry that established him. He is now curating a significant 1990s exhibition at Tate Britain, bringing together work by a host of influential artists and photographers from the era. The show, he explains, aims to explore the decade's creative cross-pollination – and highlight those who lacked due recognition at the time.

"Galleries often failed to celebrate the right artists because they lacked the right pedigree," he states.

This venture itself operates on a novel strategy, forgoing traditional advertising in favour of partnership-based projects. "Our approach is, what can we do together? Is it an experience, a series? The magazine is part of a greater ecosystem."

An Unstoppable Drive

Today, Enninful is regarded as one of the world's most respected creative power brokers. His journey, he states, is a testament to the power of following your instincts.

What would the Edward of the 90s think of the his current self? He smiles. "He would be astonished, but he’d be proud. Back then I was a rebel. I would not have believed institutions like Tate were a place for someone like me."

He pauses. "Nothing is assumed. We were displaced, we left our homeland. I almost lost my vision. So fear is not a factor. People have counted me out my entire life. But no obstacle is too great once I’ve made up my mind to do something."