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

A chance encounter on the London Underground in 1988 altered the path of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the London's buzzing 1990s cultural landscape, progressing from mannequin to stylist and, while still a teenager, becoming the fashion director of the iconic i-D.

"It was the height of the Young British Artists – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I understood we’d be great friends. We all hung out across disciplines. Friday bled into Saturday into Sunday. I yearn for that spontaneity."

Although Enninful appears nostalgic, he is in good company. In recent times, a fond idealisation of the 1990s has reached fever pitch. However over the last thirty years, Enninful perceives a profound shift. "I believe, we’re more divided now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s a global phenomenon."

A Perceived Regression

This change is increasingly evident: the resurgence of populist movements, the backlash against progressive values, and the return of Eurocentric beauty standards. In place of the optimism of the previous decade, now a more divisive political personality appears as a potential leader. Furthermore, the Union Jack, once an emblem of national pride, has returned as a polarising symbol.

According to Enninful, the antidote has long been to promote 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 snapshot of modern Britain, showcasing a diverse array of influential figures from art.

"Those in a position of influence should use it," he asserts, referring to those editorial decisions. "There is much discussion about immigration; I wouldn't be here if Britain were not a welcoming country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I cherished. I believe this phase will fade."

The Younger Generation's Awareness

He takes comfort in the next generation: "They’re much more aware than we were. They discuss unconscious bias – I was not even aware what that was."

His formative years would shape a groundbreaking career characterised by boldness and diversity. Enninful made history as the first man, first black man, first gay man, and first disabled gay man of colour to lead at British Vogue. His time featured diverse covers showcasing Black models, plus-sized women, an octogenarian, and people from all walks of life. Critically, sales rose.

"Ignoring huge sections of the population, it’s more than that you’re excluding people – it’s commercially unwise," he explains.

Launching a Creative Venture

He has established his agency EE72 and its accompanying magazine, 72, his key endeavour since leaving his previous role. He says he wants to continue being a "innovator".

"I constantly interrogate the established norms. I was born and raised in a place where everybody was black – the doctors, the attorneys, the leader. Then we came to England, with nothing, and I became the 'other'. I was painfully reserved. My teachers said I’d never amount to anything. Me and my brothers were stopped by the police the suspicion laws … those experiences gave me a dual identity between worlds."

Defying the stereotype of fashion editors as brash and temperamental, Enninful is softly spoken and radiates serenity. His path has not been immune to adversity, including publicly shared periods of mental health and substance use.

He has also faced significant health issues, having had multiple operations on his eyes, now leaving him with impaired eyesight. "I was in such a difficult period for two years, not working, anxious I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever passes, I’m just going to pursue all that I was so scared to do. I’m not going to confine myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This determination to fit into a box has propelled him outside the industry that built his career. He is now putting together a seminal 1990s exhibition at Tate Britain, showcasing work by a host of influential artists and photographers from the era. The show, he notes, aims to capture the decade's artistic collaboration – and highlight those who weren't given due recognition at the time.

"Institutions often failed to shine a light on the truly innovative creators because they weren't of the traditional credentials," he observes.

This project itself uses a different business model, eschewing traditional advertising in favour of integrated partnerships. "Our approach is, what can we do together? Is it an event, a podcast? The magazine is one component of a broader vision."

A Testament to Resilience

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

How would the younger Edward react to the Edward of today? He laughs heartily. "He would be astonished, but he’d be pleased. In those days I was sceptical of institutions. I would not have believed institutions like Tate were within my reach."

He reflects. "Nothing is assumed. We lost our home, we left our homeland. I nearly lost my vision. So fear isn't an option. People have underestimated me my entire life. But no obstacle is too great once I’ve made up my mind to do something."