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

A chance encounter while riding the tube in 1988 altered the trajectory of a young Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the London's electric 1990s artistic milieu, evolving from model to stylist and, while still a teenager, becoming the style editor of the iconic i-D.

"That time was the height of the Britart scene – 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 close. We all mixed across disciplines. Friday bled into Saturday into Sunday. I miss that rawness."

If Enninful sounds wistful, he is in good company. Lately, a longing look back of the 1990s has grown intense. But since that time, Enninful believes a noticeable regression. "I believe, we’re more divided now than we were in the 90s," he says. "The issue extends beyond this country – it’s a global phenomenon."

A Cultural Backslide

This regression is hard to ignore: the growth of nationalist groups, the backlash against progressive values, and the reinforcement of traditional beauty standards. Where once there was the optimism of the Blair era, now a different political personality looms as a possible leader. Even, the Union Jack, once an emblem of Cool Britannia, has returned as a polarising symbol.

According to Enninful, the response has always been to champion culture in all its multifaceted forms. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a wide range of prominent faces from art.

"Individuals with a platform should employ it," he asserts, referring to those editorial decisions. "Everyone talks about immigration; I would not be in this position if Britain hadn't been a open country, if it hadn't given my family a home and an education. That’s the Britain I believed in. I believe this period will end."

Hope in the Next Generation

He draws solace in the younger generation: "Their awareness is greater than we were. They analyse systemic issues – I was not even aware what that was."

His formative years would define a groundbreaking career built on boldness and inclusivity. Enninful set a precedent as the first male, first Black editor, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His time featured diverse covers showcasing models of colour, plus-sized women, older individuals, and people from all walks of life. Importantly, sales rose.

"When you ignore huge sections of the population, it’s not just that you’re not being inclusive – it’s bad for business," he explains.

Beyond the Magazine World

He has recently launched his agency EE72 and its accompanying magazine, 72, his premier initiative since leaving his previous role. He states his aim to continue being a "change-maker".

"My nature is to challenge the status quo. I was brought up in a place where everybody was black – the physicians, the lawyers, the president. Then we arrived in England, without funds, and I found myself on the margins. I was painfully reserved. My teachers said I’d never amount to anything. Me and my brothers were harassed under the suspicion laws … those experiences gave me a sense of being both an insider and outsider."

Defying the stereotype of fashion editors as loud and highly strung, Enninful is softly spoken and projects peace. His life has included its share of adversity, including openly discussed battles with mental health and substance use.

He has also faced significant health challenges, having had multiple operations on his eyes, leading to limited vision. "I endured such a time of fear for two years, away from work, terrified I was going to lose my sight. It’s similar 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 fashion person."

Curating a Cultural Era

This determination to be defined narrowly has propelled him away from the world that built his career. He is now organising a major 1990s exhibition at Tate Britain, featuring work by a host of defining artists and photographers from the era. The show, he notes, aims to capture the decade's interdisciplinary energy – and give platform to those who weren't given adequate attention at the time.

"The establishment sometimes neglected to celebrate the truly innovative creators because they lacked the traditional credentials," he states.

This project itself uses a different strategy, rejecting traditional advertising in favour of partnership-based projects. "The question is, what can we achieve in partnership? Is it an event, a podcast? The magazine is one component of a larger creative platform."

An Unstoppable Drive

Today, Enninful operates as one of the world's most powerful industry leaders. His journey, he states, is a demonstration to the power of following your instincts.

How would the Edward of the 90s make of the Edward of today? He laughs heartily. "It would be a surprise, but he’d be proud. At that time I was anti-establishment. I would not have believed institutions like Tate were within my reach."

He pauses. "Gratitude is key. 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 entire life. But no obstacle is too great once I’ve decided to do something."