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

An unexpected discovery during a tube journey in 1988 altered the trajectory of a young Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the city's electric 1990s artistic milieu, progressing from model to stylist and, before turning twenty, becoming the style editor of i-D magazine.

"It was the height of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I knew we’d be kindred spirits. We all mixed across disciplines. Friday became Saturday into Sunday. I yearn for that spontaneity."

While Enninful may seem sentimental, he is far from alone. Lately, a longing look back of the 1990s has grown intense. Yet since that time, Enninful believes a profound shift. "I feel, we’re less accepting now than we were in the 90s," he says. "It’s not even this country – it’s a global phenomenon."

Shifting Attitudes

This change is difficult to overlook: the rise of populist movements, the reaction against so-called "wokeness", and the return of traditional beauty standards. In place of the optimism of the late 90s, now a more divisive political figure stands as a potential leader. Furthermore, the British flag, once an symbol of Cool Britannia, has sparked debate once more.

In Enninful's view, the antidote has consistently been to celebrate culture in all its multifaceted forms. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a diverse array of influential figures from literature.

"People with a voice should wield it," he comments, discussing those publishing choices. "People often debate about immigration; I would not be in this position if Britain were not a lenient country, if it hadn't given my family a home and an education. That’s the Britain I believed in. I hope this phase will fade."

Hope in the Next Generation

He draws solace in the next generation: "Their awareness is greater than we were. They discuss unconscious bias – I had no concept what that was."

Those early experiences would shape a groundbreaking career marked by fearlessness and diversity. Enninful made history as the first man, first black man, first gay man, and first disabled Black gay man to take the helm at British Vogue. His tenure featured landmark covers showcasing Black models, plus-sized women, older individuals, and people from varied communities. Critically, sales grew.

"When you ignore large portions of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he emphasises.

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 says he wants to continue being a "disruptor".

"My nature is to challenge the status quo. I was brought up in a place where everybody was black – the doctors, the lawyers, the president. Then we came to England, without funds, and I was a minority. I was incredibly timid. My teachers predicted I’d never amount to anything. Me and my brothers were subject to police stops the Sus laws … all that gave me a unique perspective between worlds."

Contrary to the stereotype of fashion editors as brash and highly strung, Enninful is softly spoken and radiates serenity. His journey has involved hardship, including openly discussed battles with mental health and substance use.

He has also undergone significant health issues, having had multiple operations on his eyes, resulting in partial sight. "I was in such a dark place for two years, away from work, terrified I was going to go blind. It’s comparable to PTSD; you just live in fear 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 away from the industry that built his career. He is now organising a significant 1990s exhibition at Tate Britain, featuring work by a group of pivotal artists and photographers from the era. The show, he says, aims to evoke the decade's interdisciplinary energy – and highlight those who weren't given due recognition at the time.

"Galleries sometimes neglected to promote the most relevant talents because they lacked the traditional credentials," he observes.

This venture itself uses a different business model, rejecting traditional advertising in favour of integrated partnerships. "Our approach is, what can we achieve in partnership? Is it an experience, a podcast? The magazine is one component of a larger creative platform."

An Unstoppable Drive

Today, Enninful is regarded as one of the world's most influential industry leaders. His story, he feels, is a proof to the power of following your instincts.

What would the younger Edward react to the his current self? He smiles. "It would be a surprise, but he’d be proud. Back then I was anti-establishment. I didn't think institutions like Tate were a place for someone like me."

He adds. "Nothing is assumed. We fled, we left our homeland. I came close to losing my vision. So there is no room for fear. People have underestimated me my whole career. But no obstacle is too great once I’ve set my intention to do something."