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

A serendipitous meeting on the London Underground in 1988 transformed the path of a teenage Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the city's electric 1990s cultural landscape, moving from mannequin to stylist and, before turning twenty, becoming the fashion director of the publication i-D.

"That time was the zenith of the YBA movement – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I felt we’d be great friends. We all mixed across disciplines. Friday became Saturday into Sunday. I long for that energy."

If Enninful sounds nostalgic, he is in good company. In recent times, a longing look back of the 1990s has grown intense. However since that time, Enninful perceives a noticeable regression. "I believe, we’re less accepting now than we were in the 90s," he remarks. "It’s not even this country – it’s everywhere."

A Cultural Backslide

This change is hard to ignore: the resurgence of populist movements, the backlash against social awareness, and the return of narrow beauty standards. Replacing the optimism of the Blair era, currently a more divisive political personality stands as a potential leader. Even, the British flag, once an emblem of cultural optimism, has become contentious again.

According to Enninful, the response has consistently been to promote 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 snapshot of modern Britain, including a wide range of cultural icons from art.

"People with a voice should employ it," he says, referring to those publishing choices. "People often debate about immigration; I could not have had this life if Britain were not a lenient country, if it refused my family a refuge and an education. That’s the Britain I cherished. I believe this period will end."

The Younger Generation's Awareness

He draws solace in the youth of today: "They’re much more aware than we were. They analyse systemic issues – I had no concept what that was."

The beginnings of his career would define a trailblazing career characterised by fearlessness and diversity. Enninful set a precedent as the first male, first Black editor, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His tenure featured diverse covers showcasing Black models, curvy models, an octogenarian, and people from all walks of life. Importantly, sales increased.

"Ignoring vast segments of the population, it’s more than that you’re failing to represent – it’s a poor strategy," he explains.

Beyond the Magazine World

He has established his creative company EE72 and its flagship publication, 72, his first major project since departing his former post. He says he wants to continue being a "innovator".

"I constantly interrogate the conventional wisdom. I was brought up in a place where Black professionals were the norm – the physicians, the attorneys, the president. Then we came to England, without funds, and I became the 'other'. I was incredibly timid. My teachers declared I’d have no future. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a sense of being between worlds."

Contrary to the caricature of fashion editors as brash and highly strung, Enninful is measured in tone and exudes calm. His journey has included its share of challenges, including well-documented struggles with mental health and substance use.

He has also undergone serious health issues, having had multiple operations on his eyes, resulting in partial sight. "I was in such a difficult period for two years, away from work, fearing I was going to go blind. 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 scared 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 defined narrowly has inspired him outside the industry that made his name. He is now curating a significant 1990s exhibition at Tate Britain, showcasing work by a group of influential artists and photographers from the era. The show, he says, aims to evoke the decade's interdisciplinary energy – and spotlight those who weren't given due recognition at the time.

"Institutions sometimes neglected to shine a light on the most relevant talents because they did not have the traditional credentials," he observes.

The magazine 72 itself functions with a different strategy, forgoing traditional advertising in favour of partnership-based projects. "The question is, what can we do together? Is it an experience, a series? The magazine is a piece within a broader vision."

A Testament to Resilience

Today, Enninful is regarded as one of the world's most respected creative power brokers. His path, he states, is a testament to the power of defying expectations.

What would the Enninful of that era think of the his current self? He smiles. "It would be a surprise, but he’d be pleased. At that time I was a rebel. I would not have believed institutions like Tate were necessarily for me."

He pauses. "Nothing is assumed. We lost our home, we left our homeland. I came close to losing my vision. So fear isn't an option. People have doubted me my whole career. But nothing can stop me once I’ve decided to do something."