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

A chance encounter while riding the tube in 1988 transformed the trajectory of a teenage Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was quickly drawn into the London's buzzing 1990s cultural landscape, moving from mannequin to stylist and, before turning twenty, becoming the style editor of the publication i-D.

"That time was the height of the Young British Artists – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I felt we’d be close. We all socialised across disciplines. Friday became Saturday into Sunday. I long for that rawness."

While Enninful may seem nostalgic, he is not the only one. In recent times, a longing look back of the 1990s has reached fever pitch. However over the last thirty years, Enninful believes a significant change. "In my view, we’re less tolerant now than we were in the 90s," he remarks. "This isn't just this country – it’s worldwide."

A Perceived Regression

This regression is hard to ignore: the rise of far-right politics, the backlash against so-called "wokeness", and the reinforcement of traditional beauty standards. In place of the optimism of the late 90s, currently a different political figure appears as a potential leader. Even, the Union Jack, once an emblem of national pride, has become contentious again.

In Enninful's view, the antidote has always been to celebrate culture in all its variety. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a broad spectrum of influential figures from politics.

"Individuals with a platform should employ it," he comments, discussing those editorial decisions. "People often debate about immigration; I would not be in this position if Britain was not a lenient country, if it hadn't given my family a home and an opportunity. That’s the Britain I cherished. I believe this phase will end."

A New Wave of Consciousness

He takes comfort in the next generation: "Their awareness is greater than we were. They discuss systemic issues – I didn't even know what that was."

Those early experiences would define a pioneering career marked by boldness and representation. Enninful set a precedent as the first male, first Black editor, first openly gay person, and first disabled Black gay man to lead at British Vogue. His tenure featured historic front pages showcasing Black models, plus-sized women, older individuals, and individuals from varied communities. Critically, sales rose.

"To overlook huge sections of the population, it’s more than that you’re excluding people – it’s bad for business," he emphasises.

Launching a Creative Venture

He has since founded his agency EE72 and its accompanying magazine, 72, his key endeavour since departing his previous role. He states his aim to continue being a "change-maker".

"I’ve always questioned the status quo. I was born and raised in a place where the majority was Black – the physicians, the lawyers, the leader. Then we arrived in England, with nothing, and I became the 'other'. I was very shy. My teachers said I’d never amount to anything. Me and my brothers were harassed under the Sus laws … those experiences gave me a unique perspective on the inside and the outside."

Contrary to the popular image of fashion editors as brash and highly strung, Enninful is calm and radiates serenity. His journey has not been immune to hardship, including publicly shared struggles with mental health and substance use.

He has also undergone significant health issues, having had multiple operations on his eyes, resulting in partial sight. "I endured such a difficult period for two years, not working, anxious I was going to go blind. It’s like PTSD; you just live in fear 24/7. I thought, if this ever ends, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to confine myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

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

"Galleries sometimes neglected to shine a light on the right artists because they weren't of the right pedigree," he states.

The magazine 72 itself operates on a novel approach, forgoing traditional advertising in favour of creative collaborations. "Our approach is, what can we do together? Is it an event, a podcast? The magazine is one component of a greater ecosystem."

A Testament to Resilience

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

What would the Enninful of that era make of the Edward of today? He smiles. "He would be astonished, but he’d be impressed. In those days I was sceptical of institutions. I never imagined institutions like Tate were a place for someone like me."

He pauses. "I never take anything for granted. We fled, we fled our country. I came close to losing my vision. So there is no room for fear. People have doubted me my whole career. But no obstacle is too great once I’ve made up my mind to do something."