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

A serendipitous meeting during a tube journey in 1988 changed forever the course of a young Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the city's buzzing 1990s cultural landscape, moving from mannequin to stylist and, before turning twenty, becoming the style editor of the publication i-D.

"That era was the height of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I felt we’d be great friends. We all socialised across disciplines. Friday bled into Saturday into Sunday. I yearn for that spontaneity."

While Enninful may seem wistful, he is not the only one. In recent times, a fond idealisation of the 1990s has become pervasive. Yet in the intervening decades, Enninful believes a significant change. "I feel, we’re less tolerant now than we were in the 90s," he observes. "The issue extends beyond this country – it’s worldwide."

A Perceived Regression

This change is increasingly evident: the growth of far-right politics, the reaction against progressive values, and the return of traditional beauty standards. Replacing the optimism of the previous decade, now a more divisive political force stands as a potential leader. Even, the Union Jack, once an emblem of Cool Britannia, has become contentious again.

In Enninful's view, the antidote has long been to celebrate culture in all its diversity. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a wide range of influential figures from politics.

"Individuals with a platform should employ it," he asserts, referring to those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain were not a open country, if it hadn't given my family a home and an opportunity. That’s the Britain I cherished. I trust this phase will fade."

Hope in the Next Generation

He takes comfort in the youth of today: "They’re much more aware than we were. They talk about systemic issues – I had no concept what that was."

The beginnings of his career would forge a groundbreaking career characterised by boldness and inclusivity. Enninful broke barriers as the first man, first Black editor, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His leadership featured historic front pages showcasing models of colour, plus-sized women, older individuals, and individuals from all walks of life. Importantly, sales rose.

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

Launching a Creative Venture

He has since founded his creative company EE72 and its flagship publication, 72, his premier initiative since departing his previous role. He expresses a desire to continue being a "change-maker".

"My nature is to challenge the conventional wisdom. I was brought up in a place where everybody was black – the doctors, the attorneys, the leader. Then we arrived in England, without funds, and I was a minority. I was very shy. My teachers predicted I’d achieve nothing. Me and my brothers were stopped by the police 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 softly spoken and exudes calm. His path has included its share of adversity, including well-documented struggles with mental health and addiction.

He has also undergone serious health issues, having had multiple operations on his eyes, leading to 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 live in fear 24/7. I vowed, if this ever passes, I’m just going to do everything 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 fit into a box has inspired him outside the world that established him. He is now organising a seminal 1990s exhibition at Tate Britain, bringing together work by a group of pivotal artists and photographers from the era. The show, he says, aims to explore the decade's interdisciplinary energy – and highlight those who lacked adequate attention at the time.

"Galleries didn't always promote the truly innovative creators because they lacked the right pedigree," he comments.

The magazine 72 itself operates on a different approach, eschewing traditional advertising in favour of integrated partnerships. "We ask, what can we do together? Is it an event, a podcast? The magazine is one component of a greater ecosystem."

Looking Forward Without Fear

Today, Enninful is regarded as one of the world's most influential cultural influencers. His story, he states, is a proof to the power of defying expectations.

How would the Edward of the 90s react to the man he has become? He smiles. "He would be astonished, but he’d be impressed. At that time I was anti-establishment. I didn't think institutions like Tate were necessarily for me."

He adds. "I never take anything for granted. We fled, we left our homeland. I nearly 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."