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

A chance encounter during a tube journey in 1988 changed forever the path of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the city's electric 1990s artistic milieu, progressing from model to stylist and, while still a teenager, becoming the fashion director of i-D magazine.

"It was the height of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I understood we’d be close. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I yearn for that rawness."

Although Enninful appears nostalgic, he is not the only one. Lately, a longing look back of the 1990s has grown intense. But over the last thirty years, Enninful believes a noticeable regression. "I believe, we’re less tolerant now than we were in the 90s," he observes. "This isn't just this country – it’s everywhere."

A Cultural Backslide

This shift is increasingly evident: the resurgence of nationalist groups, the reaction against so-called "wokeness", and the reinforcement of traditional beauty standards. Replacing the optimism of the Blair era, now a different political figure stands as a possible leader. Even, the British flag, once an badge of cultural optimism, has become contentious again.

In Enninful's view, the solution has always been to celebrate culture in all its diversity. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a wide range of prominent faces from art.

"Individuals with a platform should employ it," he asserts, discussing those editorial decisions. "People often debate about immigration; I could not have had this life if Britain were not a lenient country, if it refused my family a refuge and an opportunity. That’s the Britain I believed in. I trust this phase will pass."

A New Wave of Consciousness

He draws solace in the next generation: "They’re much more aware than we were. They analyse unconscious bias – I didn't even know what that was."

His formative years would define a trailblazing career built on fearlessness and representation. Enninful set a precedent as the first male, first black man, first openly gay person, and first disabled Black gay man to lead at British Vogue. His leadership featured landmark covers showcasing people of diverse backgrounds, curvy models, an octogenarian, and people from varied communities. Critically, sales rose.

"To overlook vast segments of the population, it’s not just that you’re not being inclusive – it’s commercially unwise," he states.

Launching a Creative Venture

He has established his creative company EE72 and its flagship publication, 72, his first major project since moving on from his former post. He states his aim to continue being a "disruptor".

"My nature is to challenge the conventional wisdom. I was brought up in a place where everybody was black – the physicians, the attorneys, the president. Then we arrived in England, without funds, and I became the 'other'. I was incredibly timid. My teachers said I’d achieve nothing. Me and my brothers were harassed under the suspicion laws … those experiences gave me a dual identity between worlds."

In contrast to the stereotype of fashion editors as loud and highly strung, Enninful is measured in tone and exudes calm. His life has involved adversity, including openly discussed periods of depression and addiction.

He has also undergone significant health issues, having undergone several surgeries on his eyes, resulting in partial sight. "I was in such a difficult period for two years, away from work, anxious I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I thought, 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."

Curating a Cultural Era

This determination to be defined narrowly has propelled him beyond the industry that established him. He is now curating a seminal 1990s exhibition at Tate Britain, showcasing 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 spotlight those who weren't given due recognition at the time.

"Institutions didn't always shine a light on the right artists because they did not have the right pedigree," he states.

This venture itself uses a unique strategy, rejecting traditional advertising in favour of creative collaborations. "The question is, what can we achieve in partnership? Is it an experience, a series? The magazine is one component of a larger creative platform."

A Testament to Resilience

Today, Enninful is regarded as one of the world's most influential cultural influencers. His path, he believes, is a demonstration to the power of pursuing your passions.

What would the Edward of the 90s think of the Edward of today? He smiles. "He’d be in shock, but he’d be impressed. At that time I was anti-establishment. I never imagined institutions like Tate were necessarily for me."

He reflects. "Gratitude is key. We were displaced, we left our homeland. I nearly lost my vision. So there is no room for fear. People have counted me out my whole career. But no obstacle is too great once I’ve decided to do something."