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

A serendipitous meeting while riding the tube in 1988 transformed the course of a teenage Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the London's electric 1990s creative scene, evolving from mannequin to stylist and, before turning twenty, becoming the style editor of the iconic i-D.

"That era was the height of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I knew we’d be close. We all hung out across disciplines. Friday bled into Saturday into Sunday. I yearn for that energy."

Although Enninful appears wistful, he is in good company. Recently, a fond idealisation of the 1990s has become pervasive. Yet since that time, Enninful feels a noticeable regression. "I feel, we’re less accepting now than we were in the 90s," he says. "The issue extends beyond this country – it’s everywhere."

Shifting Attitudes

This regression is hard to ignore: the rise of nationalist groups, the pushback against progressive values, and the reassertion of Eurocentric beauty standards. Where once there was the optimism of the Blair era, currently a different political force appears as a possible leader. Even, the Union Jack, once an badge of national pride, has sparked debate once more.

According to Enninful, the antidote has long been to champion culture in all its variety. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a broad spectrum of cultural icons from literature.

"People with a voice should employ it," he says, explaining those editorial decisions. "There is much discussion about immigration; I could not have had this life if Britain hadn't been a welcoming country, if it did not offer my family a home and an education. That’s the Britain I always loved. I hope this phase will fade."

A New Wave of Consciousness

He finds hope in the younger generation: "They’re much more aware than we were. They analyse implicit prejudice – I was not even aware what that was."

Those early experiences would shape a trailblazing career marked by fearlessness and diversity. Enninful broke barriers as the first man, first Black editor, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His time featured diverse covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and people from varied communities. Significantly, sales increased.

"When you ignore large portions of the population, it’s not just that you’re excluding people – it’s bad for business," he states.

Launching a Creative Venture

He has established his new venture 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 "change-maker".

"I constantly interrogate the established norms. I was raised in a place where Black professionals were the norm – the physicians, the attorneys, the president. Then we arrived in England, with nothing, and I became the 'other'. I was very shy. My teachers declared I’d achieve nothing. Me and my brothers were harassed under the Sus laws … all that gave me a sense of being on the inside and the outside."

Defying the stereotype of fashion editors as brash and highly strung, Enninful is softly spoken and radiates serenity. His journey has involved challenges, including openly discussed battles with mental health and addiction.

He has also endured serious health issues, having had multiple operations on his eyes, resulting in impaired eyesight. "I was in such a difficult period for two years, not working, fearing I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I vowed, if this ever is over, I’m just going to pursue all that I was so fearful to do. I’m not going to limit myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This determination to be typecast has led him away from 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 says, aims to capture the decade's creative cross-pollination – and give platform to those who lacked adequate attention at the time.

"Institutions didn't always celebrate the truly innovative creators because they did not have the traditional credentials," he observes.

This venture itself operates on a unique approach, rejecting traditional advertising in favour of integrated partnerships. "We ask, what can we do together? Is it an event, a series? The magazine is part of a broader vision."

Looking Forward Without Fear

Currently, Enninful operates as one of the world's most influential cultural influencers. His path, he feels, is a proof to the power of pursuing your passions.

What would the Edward of the 90s think of the Edward of today? He laughs heartily. "He would be astonished, but he’d be pleased. At that time I was sceptical of institutions. I would not have believed institutions like Tate were within my reach."

He pauses. "Gratitude is key. We lost our home, we fled our country. I nearly lost my vision. So fear is not a factor. People have counted me out my entire life. But nothing can stop me once I’ve set my intention to do something."