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

A chance encounter while riding the tube in 1988 changed forever the path of a young Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the London's electric 1990s creative scene, moving from model to stylist and, while still a teenager, becoming the style editor of the publication i-D.

"It was the zenith of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I felt we’d be great friends. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I miss that energy."

If Enninful sounds wistful, he is far from alone. Recently, a wistful romanticisation of the 1990s has grown intense. However over the last thirty years, Enninful feels a profound shift. "I believe, we’re less accepting now than we were in the 90s," he says. "The issue extends beyond this country – it’s worldwide."

A Perceived Regression

This regression is increasingly evident: the resurgence of nationalist groups, the backlash against social awareness, and the reinforcement of traditional beauty standards. Replacing the optimism of the previous decade, now a more divisive political personality looms as a possible leader. Even, the British flag, once an emblem of cultural optimism, has become contentious again.

According to Enninful, the antidote has long been to celebrate culture in all its diversity. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a broad spectrum of prominent faces from music.

"People with a voice should wield it," he says, discussing those editorial decisions. "Everyone talks about immigration; I could not have had this life if Britain was not a lenient country, if it refused my family a home and an opportunity. That’s the Britain I always loved. I trust this moment will end."

A New Wave of Consciousness

He takes comfort in the youth of today: "They are far more conscious than we were. They analyse implicit prejudice – I didn't even know what that was."

Those early experiences would shape a trailblazing career marked by boldness and diversity. Enninful broke barriers 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 tenure featured historic front pages showcasing people of diverse backgrounds, curvy models, an octogenarian, and individuals from varied communities. Importantly, sales increased.

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

Launching a Creative Venture

He has recently launched his creative company EE72 and its accompanying magazine, 72, his premier initiative since moving on from his previous role. He states his aim to continue being a "innovator".

"My nature is to challenge the conventional wisdom. I was raised in a place where everybody was black – the physicians, the lawyers, the president. Then we arrived in England, with nothing, and I was a minority. I was incredibly timid. My teachers said I’d have no future. Me and my brothers were stopped by the police the Sus laws … all that gave me a sense of being both an insider and outsider."

In contrast to the popular image of fashion editors as loud and temperamental, Enninful is measured in tone and radiates serenity. His life has included its share of hardship, including well-documented periods of depression and substance use.

He has also endured serious health challenges, having undergone several surgeries on his eyes, resulting in limited vision. "I was in such a dark place 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 passes, I’m just going to pursue all that I was so scared to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This refusal to be defined narrowly has propelled him outside the realm that established him. He is now curating a significant 1990s exhibition at Tate Britain, showcasing work by a host of defining artists and photographers from the era. The show, he says, aims to explore the decade's artistic collaboration – and highlight those who weren't given due recognition at the time.

"Galleries often failed to shine a light on the most relevant talents because they did not have the expected background," he comments.

The magazine 72 itself operates on a novel business model, eschewing 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."

Looking Forward Without Fear

Now, Enninful operates as one of the world's most powerful industry leaders. His path, he feels, is a proof to the power of following your instincts.

How would the younger Edward think of the Edward of today? He laughs heartily. "It would be a surprise, but he’d be proud. In those days I was a rebel. I would not have believed institutions like Tate were a place for someone like me."

He reflects. "Nothing is assumed. We fled, we left our homeland. I almost lost my vision. So fear isn't an option. People have underestimated me my whole career. But I am unstoppable once I’ve made up my mind to do something."