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

A chance encounter while riding the tube in 1988 transformed the trajectory of a teenage Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the capital's electric 1990s cultural landscape, moving from mannequin to stylist and, by the age of 18, becoming the fashion director of i-D magazine.

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

If Enninful sounds sentimental, he is far from alone. Recently, a wistful romanticisation of the 1990s has reached fever pitch. However over the last thirty years, Enninful feels a profound shift. "I believe, we’re more divided now than we were in the 90s," he observes. "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 progressive values, and the reassertion of narrow beauty standards. In place of the hope of the previous decade, now a different political personality looms as a possible leader. Furthermore, the British flag, once an badge of cultural optimism, has sparked debate once more.

According to Enninful, the response has consistently been to celebrate culture in all its multifaceted forms. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a wide range of prominent faces from literature.

"People with a voice should employ it," he comments, explaining those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain was not a open country, if it did not offer my family a home and an opportunity. That’s the Britain I cherished. I trust this moment will pass."

The Younger Generation's Awareness

He finds hope in the youth of today: "They’re much more aware than we were. They talk about systemic issues – I was not even aware what that was."

His formative years would shape a groundbreaking career characterised by fearlessness and representation. Enninful made history as the first male, first black man, first gay man, and first disabled Black gay man to take the helm at British Vogue. His tenure featured landmark covers showcasing models of colour, curvy models, an octogenarian, and people from all walks of life. Critically, sales grew.

"When you ignore vast segments of the population, it’s more than that you’re failing to represent – it’s a poor strategy," he explains.

Launching a Creative Venture

He has recently launched his creative company EE72 and its flagship publication, 72, his premier initiative since departing his previous role. He states his aim to continue being a "disruptor".

"I’ve always questioned the status quo. I was born and raised in a place where everybody was black – the physicians, the lawyers, the leader. Then we came to England, without funds, and I found myself on the margins. I was painfully reserved. My teachers said I’d have no future. Me and my brothers were stopped by the police the suspicion laws … those experiences gave me a sense of being on the inside and the outside."

Defying the caricature of fashion editors as brash and highly strung, Enninful is measured in tone and radiates serenity. His journey has not been immune to adversity, including openly discussed battles with depression and addiction.

He has also faced significant health challenges, having had multiple operations on his eyes, leading to impaired eyesight. "I was in such a difficult period for two years, away from work, terrified I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever ends, I’m just going to pursue all that I was so scared to do. I’m not going to confine myself to just being an editor or a figure in fashion."

A Foray into Curation

This determination to be defined narrowly has propelled him beyond the industry that established him. He is now curating a major 1990s exhibition at Tate Britain, showcasing work by a host of defining artists and photographers from the era. The show, he notes, aims to capture the decade's artistic collaboration – and give platform to those who weren't given adequate attention at the time.

"The establishment often failed to shine a light on the most relevant talents because they did not have the traditional credentials," he comments.

This project itself operates on a unique approach, rejecting traditional advertising in favour of partnership-based projects. "The question is, what can we achieve in partnership? Is it an experience, a series? The magazine is a piece within a greater ecosystem."

Looking Forward Without Fear

Now, Enninful operates as one of the world's most respected creative power brokers. His journey, he states, is a proof to the power of following your instincts.

How would the Edward of the 90s react to the Edward of today? He smiles. "He would be astonished, but he’d be impressed. At that time I was sceptical of institutions. I never imagined institutions like Tate were necessarily for me."

He adds. "Gratitude is key. We lost our home, we left our homeland. I nearly lost my vision. So there is no room for fear. People have doubted me my whole career. But nothing can stop me once I’ve set my intention to do something."