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

An unexpected discovery during a tube journey in 1988 changed forever the course of a teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the city's buzzing 1990s cultural landscape, moving from mannequin to stylist and, before turning twenty, becoming the style editor of the iconic i-D.

"It was the height of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I knew we’d be kindred spirits. We all mixed across disciplines. Friday bled into Saturday into Sunday. I long for that rawness."

If Enninful sounds nostalgic, he is in good company. Recently, a fond idealisation of the 1990s has grown intense. But since that time, Enninful believes a profound shift. "I feel, we’re more divided now than we were in the 90s," he remarks. "It’s not even this country – it’s everywhere."

Shifting Attitudes

This shift is increasingly evident: the rise of nationalist groups, the reaction against so-called "wokeness", and the reassertion of traditional beauty standards. In place of the hope of the late 90s, now a different political personality looms as a potential leader. Even, the British flag, once an badge of national pride, has returned as a polarising symbol.

According to Enninful, the response has consistently been to promote culture in all its diversity. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a broad spectrum of influential figures from literature.

"Those in a position of influence should wield it," he asserts, explaining those editorial decisions. "People often debate about immigration; I could not have had this life if Britain was not a welcoming country, if it did not offer my family a home and an education. That’s the Britain I always loved. I believe this phase will fade."

The Younger Generation's Awareness

He finds hope in the next generation: "They’re much more aware than we were. They analyse systemic issues – I didn't even know what that was."

The beginnings of his career would define a groundbreaking career characterised by fearlessness and representation. Enninful broke barriers as the first man, first black man, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His time featured diverse covers showcasing people of diverse backgrounds, curvy models, an octogenarian, and people from varied communities. Importantly, sales increased.

"When you ignore large portions of the population, it’s more than that you’re excluding people – it’s commercially unwise," he states.

A New Chapter as a 'Disruptor'

He has recently launched his agency EE72 and its accompanying magazine, 72, his first major project since moving on from his former post. He states his aim to continue being a "change-maker".

"I constantly interrogate the status quo. I was born and raised in a place where Black professionals were the norm – the doctors, the lawyers, the president. Then we arrived in England, without funds, and I found myself on the margins. I was incredibly timid. My teachers predicted I’d never amount to anything. Me and my brothers were subject to police stops the Sus laws … this duality gave me a sense of being both an insider and outsider."

Defying the popular image of fashion editors as loud and highly strung, Enninful is softly spoken and exudes calm. His path has included its share of adversity, including openly discussed struggles with mental health and substance use.

He has also undergone significant health challenges, having undergone several surgeries on his eyes, resulting in limited vision. "I endured such a dark place for two years, away from work, anxious I was going to go blind. It’s like PTSD; you just live in fear 24/7. I prayed, if this ever ends, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to limit myself to just being an editor or a fashion person."

Curating a Cultural Era

This refusal to fit into a box has propelled him beyond the realm that made his name. He is now organising a significant 1990s exhibition at Tate Britain, bringing together work by a host of pivotal artists and photographers from the era. The show, he says, aims to capture the decade's artistic collaboration – and highlight those who did not receive adequate attention at the time.

"Institutions sometimes neglected to promote the truly innovative creators because they weren't of the right pedigree," he observes.

This venture itself operates on a novel approach, rejecting traditional advertising in favour of integrated partnerships. "Our approach is, what can we achieve in partnership? Is it an event, a podcast? The magazine is a piece within a broader vision."

An Unstoppable Drive

Today, Enninful stands as one of the world's most respected creative power brokers. His story, he feels, is a testament to the power of pursuing your passions.

How would the younger Edward make of the man he has become? He laughs heartily. "He’d be in shock, but he’d be pleased. At that time I was a rebel. I never imagined institutions like Tate were necessarily for me."

He adds. "Gratitude is key. We were displaced, we fled our country. I nearly lost my vision. So fear is not a factor. People have underestimated me my entire life. But no obstacle is too great once I’ve decided to do something."