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

An unexpected discovery during a tube journey in 1988 changed forever the path of a teenage Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the capital's buzzing 1990s creative scene, moving from model to stylist and, by the age of 18, becoming the fashion director of the iconic i-D.

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

While Enninful may seem nostalgic, he is not the only one. In recent times, a fond idealisation of the 1990s has grown intense. But in the intervening decades, Enninful feels a profound shift. "I believe, we’re more divided now than we were in the 90s," he observes. "It’s not even this country – it’s a global phenomenon."

Shifting Attitudes

This change is hard to ignore: the rise of far-right politics, the backlash against so-called "wokeness", and the return of Eurocentric beauty standards. In place of the optimism of the previous decade, today a different political personality looms as a potential leader. Even, the British flag, once an emblem of national pride, has sparked debate once more.

According to Enninful, the antidote has always been to promote 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 portrait of modern Britain, including a broad spectrum of influential figures from literature.

"People with a voice should employ it," he asserts, explaining those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain hadn't been a welcoming country, if it refused my family a refuge and an opportunity. That’s the Britain I believed in. I hope this phase will pass."

Hope in the Next Generation

He finds hope in the youth of today: "Their awareness is greater than we were. They discuss systemic issues – I had no concept what that was."

The beginnings of his career would define a trailblazing career marked by fearlessness and inclusivity. Enninful broke barriers as the first male, first Black editor, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His leadership featured diverse covers showcasing models of colour, plus-sized women, older individuals, and individuals from varied communities. Critically, sales increased.

"Ignoring huge sections of the population, it’s not just 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 premier initiative since moving on from his previous role. He says he wants to continue being a "disruptor".

"I constantly interrogate the status quo. I was brought up in a place where the majority was Black – the physicians, the lawyers, the leader. Then we arrived in England, with nothing, and I was a minority. I was incredibly timid. My teachers predicted I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … those experiences gave me a dual identity between worlds."

In contrast to the popular image of industry figures as brash and temperamental, Enninful is calm and exudes calm. His path has not been immune to hardship, including publicly shared struggles with depression and substance use.

He has also faced serious health challenges, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I endured such a difficult period for two years, not working, anxious I was going to go blind. It’s comparable to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever ends, I’m just going to embrace every opportunity 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 determination to be defined narrowly has inspired him beyond the industry that established him. He is now organising a seminal 1990s exhibition at Tate Britain, showcasing work by a host of influential artists and photographers from the era. The show, he notes, aims to explore the decade's creative cross-pollination – and highlight those who weren't given due recognition at the time.

"Galleries often failed to celebrate the truly innovative creators because they lacked the right pedigree," he observes.

This project itself operates on a novel business model, forgoing traditional advertising in favour of creative collaborations. "We ask, what can we do together? Is it an event, a series? The magazine is one component of a greater ecosystem."

Looking Forward Without Fear

Currently, Enninful stands as one of the world's most powerful creative power brokers. His path, he feels, is a proof to the power of pursuing your passions.

How would the Edward of the 90s think of the Edward of today? He smiles. "He’d be in shock, but he’d be pleased. Back then 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 lost our home, we fled our country. I came close to losing my vision. So there is no room for fear. People have underestimated me my entire life. But I am unstoppable once I’ve made up my mind to do something."