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

An unexpected discovery during a tube journey in 1988 changed forever the path of a young Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the city's electric 1990s cultural landscape, evolving from model to stylist and, before turning twenty, becoming the style editor of the publication i-D.

"It was the peak 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 knew we’d be close. We all hung out across disciplines. Friday became Saturday into Sunday. I long for that rawness."

Although Enninful appears sentimental, he is far from alone. Lately, a longing look back of the 1990s has grown intense. But in the intervening decades, Enninful feels a significant change. "I feel, we’re more divided now than we were in the 90s," he observes. "This isn't just this country – it’s worldwide."

Shifting Attitudes

This regression is difficult to overlook: the rise of far-right politics, the reaction against progressive values, and the reinforcement of Eurocentric beauty standards. In place of the optimism of the Blair era, now a different political figure looms as a potential leader. Even, the British flag, once an symbol of Cool Britannia, has returned as a polarising symbol.

For Enninful, the response has long been to promote culture in all its variety. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a broad spectrum of cultural icons from politics.

"Individuals with a platform should wield it," he says, referring to those publishing choices. "People often debate about immigration; I could not have had this life if Britain hadn't been a lenient country, if it hadn't given my family a refuge and an education. That’s the Britain I cherished. I trust this period will pass."

Hope in the Next Generation

He draws solace in the next generation: "They are far more conscious than we were. They talk about implicit prejudice – I didn't even know what that was."

Those early experiences would forge a pioneering career built on boldness and representation. Enninful made history as the first man, first black man, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His time featured landmark covers showcasing models of colour, plus-sized women, older individuals, and individuals from varied communities. Importantly, sales rose.

"Ignoring large portions of the population, it’s not just that you’re not being inclusive – it’s a poor strategy," he explains.

Beyond the Magazine World

He has established his new venture EE72 and its accompanying magazine, 72, his first major project since leaving his previous role. He expresses a desire to continue being a "disruptor".

"I constantly interrogate the conventional wisdom. I was born and raised in a place where the majority was Black – the doctors, the lawyers, the leader. Then we arrived in England, with nothing, and I found myself on the margins. I was very shy. My teachers declared I’d have no future. Me and my brothers were subject to police stops the suspicion laws … this duality gave me a unique perspective both an insider and outsider."

Contrary to the popular image of fashion editors as brash and temperamental, Enninful is calm and projects peace. His journey has included its share of challenges, including openly discussed periods of mental health and substance use.

He has also faced significant health challenges, having undergone several surgeries on his eyes, resulting in limited vision. "I was in such a time of fear for two years, away from work, fearing I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I vowed, if this ever is over, I’m just going to do everything that I was so scared to do. I’m not going to confine myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This determination to fit into a box has inspired him beyond the realm that built his career. He is now curating a seminal 1990s exhibition at Tate Britain, bringing together work by a roster of pivotal artists and photographers from the era. The show, he says, aims to evoke the decade's artistic collaboration – and highlight those who did not receive a spotlight at the time.

"The establishment often failed to shine a light on the truly innovative creators because they did not have the traditional credentials," he comments.

This venture itself operates on a different strategy, rejecting traditional advertising in favour of creative collaborations. "The question is, what can we create collaboratively? Is it an event, a podcast? The magazine is one component of a greater ecosystem."

An Unstoppable Drive

Now, Enninful is regarded as one of the world's most influential industry leaders. His story, he states, is a demonstration to the power of pursuing your passions.

How would the younger Edward make of the Edward of today? He chuckles. "It would be a surprise, but he’d be impressed. At that time I was sceptical of institutions. I didn't think institutions like Tate were necessarily for me."

He pauses. "I never take anything for granted. We lost our home, we fled our country. I nearly lost my vision. So fear is not a factor. People have underestimated me my whole career. But no obstacle is too great once I’ve set my intention to do something."