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 trajectory of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the London's electric 1990s creative scene, moving from model 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 remembers. "Then I met Naomi for a cover, and I understood we’d be close. We all socialised across disciplines. Friday bled into Saturday into Sunday. I long for that spontaneity."

While Enninful may seem nostalgic, he is not the only one. Recently, a wistful romanticisation of the 1990s has reached fever pitch. But in the intervening decades, Enninful perceives a noticeable regression. "I believe, we’re less accepting now than we were in the 90s," he observes. "The issue extends beyond this country – it’s everywhere."

A Perceived Regression

This change is hard to ignore: the resurgence of populist movements, the pushback against so-called "wokeness", and the reinforcement of traditional beauty standards. Where once there was the hope of the Blair era, today a more divisive political personality stands as a possible leader. Furthermore, the British flag, once an badge of national pride, has sparked debate once more.

For Enninful, the antidote has long been to champion 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 celebration of modern Britain, showcasing a diverse array of influential figures from literature.

"Individuals with a platform should employ it," he asserts, discussing those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain was not a lenient country, if it refused my family a home and an education. That’s the Britain I cherished. I believe this moment will end."

The Younger Generation's Awareness

He finds hope in the younger generation: "Their awareness is greater than we were. They discuss systemic issues – I didn't even know what that was."

His formative years would shape a pioneering career characterised by boldness and diversity. Enninful made history as the first man, first black man, first gay man, and first disabled Black gay man to lead at British Vogue. His leadership featured diverse covers showcasing people of diverse backgrounds, curvy models, an octogenarian, and individuals from varied communities. Significantly, sales rose.

"When you ignore huge sections of the population, it’s not just that you’re excluding people – it’s a poor strategy," he states.

Launching a Creative Venture

He has recently launched his creative company EE72 and its flagship publication, 72, his first major project since departing his former post. He states his aim to continue being a "change-maker".

"I’ve always questioned the status quo. I was raised in a place where Black professionals were the norm – the doctors, the attorneys, the president. Then we came to England, penniless, and I found myself on the margins. I was incredibly timid. My teachers declared I’d never amount to anything. Me and my brothers were subject to police stops the suspicion laws … this duality gave me a sense of being both an insider and outsider."

Contrary to the popular image of industry figures as brash and temperamental, Enninful is calm and radiates serenity. His journey has included its share of challenges, including well-documented struggles with mental health and addiction.

He has also undergone serious health challenges, having undergone several surgeries on his eyes, leading to limited vision. "I endured such a difficult period for two years, not working, anxious I was going to lose my sight. It’s comparable to PTSD; you just exist in a state of dread 24/7. I thought, if this ever is over, I’m just going to pursue all that I was so afraid to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This determination to be typecast has led him beyond the industry that made his name. He is now putting together a major 1990s exhibition at Tate Britain, featuring work by a roster of defining artists and photographers from the era. The show, he notes, aims to explore the decade's interdisciplinary energy – and give platform to those who lacked a spotlight at the time.

"Institutions often failed to shine a light on the most relevant talents because they lacked the expected background," he observes.

The magazine 72 itself operates on a unique business model, forgoing traditional advertising in favour of integrated partnerships. "The question is, what can we create collaboratively? Is it an experience, a podcast? The magazine is part of a larger creative platform."

A Testament to Resilience

Currently, Enninful stands as one of the world's most powerful industry leaders. His journey, he feels, is a proof to the power of pursuing your passions.

How would the Edward of the 90s make of the his current self? He smiles. "He would be astonished, but he’d be impressed. In those days I was anti-establishment. I would not have believed institutions like Tate were within my reach."

He reflects. "Nothing is assumed. We were displaced, we fled our country. I nearly lost my vision. So fear isn't an option. People have doubted me my entire life. But no obstacle is too great once I’ve made up my mind to do something."