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

A chance encounter on the London Underground in 1988 changed forever the path of a young Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the London's electric 1990s creative scene, evolving from model to stylist and, by the age of 18, becoming the style editor of the publication i-D.

"That era was the peak of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I felt we’d be great friends. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I miss that rawness."

While Enninful may seem nostalgic, he is in good company. Lately, a fond idealisation of the 1990s has become pervasive. However since that time, Enninful feels a significant change. "I feel, we’re less tolerant now than we were in the 90s," he says. "It’s not even this country – it’s worldwide."

A Perceived Regression

This regression is difficult to overlook: the resurgence of nationalist groups, the pushback against so-called "wokeness", and the reassertion of Eurocentric beauty standards. In place of the hope of the previous decade, today a different political personality appears as a possible leader. Even, the Union Jack, once an badge of national pride, has returned as a polarising symbol.

According to Enninful, the solution has long 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 portrait of modern Britain, showcasing a broad spectrum of cultural icons from politics.

"People with a voice should use it," he asserts, referring to those editorial decisions. "Everyone talks about immigration; I could not have had this life if Britain was not a open country, if it did not offer my family a refuge and an opportunity. That’s the Britain I cherished. I hope this moment will pass."

Hope in the Next Generation

He draws solace in the next generation: "Their awareness is greater than we were. They talk about systemic issues – I had no concept what that was."

Those early experiences would shape a groundbreaking career marked by boldness and diversity. Enninful made history as the first male, first Black editor, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His leadership featured diverse covers showcasing models of colour, plus-sized women, older individuals, and people from all walks of life. Significantly, sales rose.

"When you ignore vast segments of the population, it’s not just that you’re excluding people – it’s commercially unwise," he explains.

A New Chapter as a 'Disruptor'

He has since founded his agency EE72 and its flagship publication, 72, his key endeavour since departing his previous role. He states his aim to continue being a "innovator".

"I constantly interrogate the established norms. I was raised in a place where the majority was Black – the doctors, the attorneys, the president. Then we arrived in England, without funds, and I was a minority. I was very shy. My teachers said I’d have no future. Me and my brothers were subject to police stops the suspicion laws … all that gave me a dual identity both an insider and outsider."

In contrast to the caricature of fashion editors as brash and highly strung, Enninful is calm and exudes calm. His life has included its share of hardship, including well-documented battles with mental health and addiction.

He has also endured serious health issues, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I endured such a difficult period for two years, not working, fearing I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I thought, if this ever passes, I’m just going to do everything that I was so fearful to do. I’m not going to limit myself to just being an editor or a fashion person."

A Foray into Curation

This drive to be defined narrowly has inspired him outside the realm that built his career. He is now putting together a significant 1990s exhibition at Tate Britain, showcasing work by a host of defining artists and photographers from the era. The show, he says, aims to evoke the decade's interdisciplinary energy – and give platform to those who did not receive due recognition at the time.

"Institutions didn't always celebrate the right artists because they lacked the traditional credentials," he observes.

The magazine 72 itself operates on a different approach, forgoing traditional advertising in favour of creative collaborations. "The question is, what can we create collaboratively? Is it an event, a series? The magazine is part of a larger creative platform."

A Testament to Resilience

Today, Enninful stands as one of the world's most respected cultural influencers. His journey, he believes, is a demonstration to the power of defying expectations.

What would the younger Edward think of the man he has become? He chuckles. "It would be a surprise, but he’d be pleased. In those days I was anti-establishment. I didn't think institutions like Tate were within my reach."

He adds. "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 counted me out my entire life. But no obstacle is too great once I’ve decided to do something."