Edward Enninful reflects on Modern Britain: 'A Decline in Tolerance' Than We Were Decades Ago.

A serendipitous meeting on the London Underground in 1988 altered the path of a teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the city's vibrant 1990s creative scene, evolving from mannequin to stylist and, by the age of 18, becoming the fashion director of the publication i-D.

"That time was the height of the Young British Artists – 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 socialised across disciplines. Friday bled into Saturday into Sunday. I miss that spontaneity."

While Enninful may seem nostalgic, he is in good company. Lately, a wistful romanticisation of the 1990s has reached fever pitch. Yet since that time, Enninful believes a noticeable regression. "I believe, we’re less tolerant now than we were in the 90s," he observes. "The issue extends beyond this country – it’s everywhere."

Shifting Attitudes

This shift is hard to ignore: the resurgence of nationalist groups, the pushback against so-called "wokeness", and the return of Eurocentric beauty standards. Replacing the optimism of the Blair era, now a different political personality looms as a potential leader. Even, the Union Jack, once an badge of national pride, has become contentious again.

For Enninful, the solution has always been to promote culture in all its variety. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a diverse array of cultural icons from music.

"Those in a position of influence should employ it," he comments, explaining those publishing choices. "There is much discussion about immigration; I could not have had this life if Britain was not a lenient country, if it hadn't given my family a home and an opportunity. That’s the Britain I believed in. I trust this period will end."

A New Wave of Consciousness

He finds hope in the next generation: "Their awareness is greater than we were. They analyse unconscious bias – I was not even aware what that was."

The beginnings of his career would define a pioneering career built on boldness and inclusivity. Enninful broke barriers as the first male, first black man, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His tenure featured historic front pages showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and individuals from all walks of life. Importantly, sales rose.

"To overlook vast segments of the population, it’s not just that you’re not being inclusive – it’s bad for business," he states.

Beyond the Magazine World

He has recently launched his agency EE72 and its accompanying magazine, 72, his key endeavour since departing his former post. He states his aim to continue being a "innovator".

"I constantly interrogate the conventional wisdom. I was raised in a place where everybody was black – the doctors, the attorneys, the president. Then we arrived in England, with nothing, and I found myself on the margins. I was incredibly timid. My teachers predicted I’d have no future. 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 measured in tone and projects peace. His life has not been immune to adversity, including publicly shared periods of mental health and addiction.

He has also faced serious health challenges, having had multiple operations on his eyes, leading to limited vision. "I experienced such a dark place for two years, not working, fearing I was going to lose my sight. It’s similar to 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 figure in fashion."

Curating a Cultural Era

This determination to be typecast has propelled him outside the industry that made his name. 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 notes, aims to capture the decade's creative cross-pollination – and give platform to those who weren't given adequate attention at the time.

"The establishment didn't always promote the truly innovative creators because they did not have the right pedigree," he comments.

This venture itself uses a novel business model, eschewing traditional advertising in favour of creative collaborations. "Our approach is, what can we create collaboratively? Is it an event, a podcast? The magazine is part of a larger creative platform."

An Unstoppable Drive

Today, Enninful is regarded as one of the world's most respected industry leaders. His story, he believes, is a testament to the power of defying expectations.

How would the Edward of the 90s react to the his current self? He laughs heartily. "He would be astonished, but he’d be proud. In those days I was sceptical of institutions. I would not have believed institutions like Tate were a place for someone like me."

He adds. "Gratitude is key. We fled, we fled our country. I came close to losing my vision. So fear is not a factor. People have underestimated me my whole career. But nothing can stop me once I’ve set my intention to do something."