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

An unexpected discovery while riding the tube in 1988 changed forever the path of a teenage Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was quickly drawn into the London's buzzing 1990s artistic milieu, progressing from mannequin to stylist and, while still a teenager, becoming the style editor of the publication i-D.

"It was the peak of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I felt we’d be great friends. We all hung out across disciplines. Friday bled into Saturday into Sunday. I yearn for that rawness."

If Enninful sounds sentimental, he is not the only one. Lately, a longing look back of the 1990s has reached fever pitch. But in the intervening decades, Enninful believes a significant change. "I believe, we’re less accepting now than we were in the 90s," he remarks. "This isn't just this country – it’s worldwide."

A Perceived Regression

This shift is difficult to overlook: the rise of populist movements, the pushback against social awareness, and the return of traditional beauty standards. Where once there was the hope of the late 90s, currently a more divisive political figure stands as a possible leader. Even, the Union Jack, once an emblem of cultural optimism, has become contentious again.

In Enninful's view, the solution has long been to celebrate culture in all its diversity. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a diverse array of cultural icons from politics.

"Individuals with a platform should employ it," he comments, referring to those editorial decisions. "People often debate about immigration; I would not be in this position if Britain was not a welcoming country, if it refused my family a refuge and an education. That’s the Britain I believed in. I trust this phase will pass."

Hope in the Next Generation

He takes comfort in the younger generation: "They’re much more aware than we were. They discuss systemic issues – I was not even aware what that was."

Those early experiences would shape a groundbreaking career marked by boldness and inclusivity. Enninful set a precedent as the first male, first Black editor, first gay man, and first disabled Black gay man to take the helm at British Vogue. His leadership featured historic front pages showcasing models of colour, curvy models, an octogenarian, and people from varied communities. Critically, sales rose.

"When you ignore huge sections of the population, it’s more than that you’re failing to represent – it’s bad for business," he states.

A New Chapter as a 'Disruptor'

He has established his agency EE72 and its flagship publication, 72, his premier initiative since moving on from his previous role. He states his aim to continue being a "change-maker".

"I constantly interrogate the conventional wisdom. I was raised in a place where everybody was black – the physicians, the attorneys, the president. Then we came to England, penniless, and I was a minority. I was very shy. My teachers declared I’d have no future. Me and my brothers were stopped by the police the Sus laws … all that gave me a unique perspective on the inside and the outside."

In contrast to the caricature of fashion editors as brash and temperamental, Enninful is softly spoken and exudes calm. His life has involved adversity, including well-documented battles with mental health and addiction.

He has also faced serious health challenges, having had multiple operations on his eyes, now leaving him with limited vision. "I endured such a dark place for two years, not working, fearing I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever is over, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to confine myself to just being an editor or a figure in fashion."

A Foray into Curation

This refusal to be typecast has inspired him beyond the world that made his name. He is now curating a major 1990s exhibition at Tate Britain, showcasing work by a group of influential artists and photographers from the era. The show, he says, aims to explore the decade's artistic collaboration – and give platform to those who weren't given due recognition at the time.

"The establishment didn't always promote the right artists because they did not have the traditional credentials," he states.

This venture itself operates on a different business model, eschewing traditional advertising in favour of creative collaborations. "The question is, what can we do together? Is it an event, a podcast? The magazine is one component of a larger creative platform."

A Testament to Resilience

Now, Enninful operates as one of the world's most influential creative power brokers. His story, he states, is a testament to the power of defying expectations.

What would the younger Edward react to the Edward of today? He chuckles. "He would be astonished, but he’d be proud. Back then I was anti-establishment. I didn't think institutions like Tate were necessarily for me."

He pauses. "Nothing is assumed. We lost our home, we left our homeland. I came close to losing my vision. So there is no room for fear. People have counted me out my whole career. But nothing can stop me once I’ve made up my mind to do something."