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

A serendipitous meeting on the London Underground in 1988 changed forever the course of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the capital's electric 1990s creative scene, moving from model to stylist and, while still a teenager, becoming the style editor of the iconic i-D.

"That era was the zenith of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I felt we’d be kindred spirits. We all mixed across disciplines. Friday became Saturday into Sunday. I miss that rawness."

If Enninful sounds nostalgic, he is in good company. In recent times, a fond idealisation of the 1990s has become pervasive. But over the last thirty years, Enninful believes a noticeable regression. "I feel, we’re less accepting now than we were in the 90s," he observes. "This isn't just this country – it’s a global phenomenon."

Shifting Attitudes

This regression is increasingly evident: the rise of nationalist groups, the reaction against progressive values, and the reinforcement of Eurocentric beauty standards. Where once there was the hope of the Blair era, currently a different political personality looms as a potential leader. Even, the Union Jack, once an symbol of Cool Britannia, has become contentious again.

According to Enninful, the response has long been to promote culture in all its diversity. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a wide range of cultural icons from literature.

"Those in a position of influence should employ it," he asserts, referring to those publishing choices. "There is much discussion about immigration; I could not have had this life if Britain were not a lenient country, if it refused my family a home and an education. That’s the Britain I believed in. I hope this period will fade."

The Younger Generation's Awareness

He draws solace in the younger generation: "They’re much more aware than we were. They discuss systemic issues – I had no concept what that was."

His formative years would shape a pioneering career built on boldness and inclusivity. Enninful set a precedent as the first male, first black man, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His time featured historic front pages showcasing people of diverse backgrounds, curvy models, an octogenarian, and individuals from all walks of life. Importantly, sales grew.

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

Beyond the Magazine World

He has since founded his creative company EE72 and its accompanying magazine, 72, his first major project since leaving his former post. He expresses a desire to continue being a "innovator".

"My nature is to challenge the status quo. I was brought up in a place where everybody was black – the doctors, the lawyers, the president. Then we arrived in England, without funds, and I was a minority. I was very shy. My teachers declared I’d achieve nothing. Me and my brothers were stopped by the police the suspicion laws … all that gave me a sense of being between worlds."

Contrary to the popular image of fashion editors as loud and highly strung, Enninful is softly spoken and radiates serenity. His path has not been immune to challenges, including publicly shared struggles with mental health and substance use.

He has also faced serious health issues, having had multiple operations on his eyes, now leaving him with impaired eyesight. "I endured such a difficult period for two years, away from work, fearing I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I vowed, if this ever is over, I’m just going to pursue all that I was so fearful to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

A Foray into Curation

This drive to be defined narrowly has led him outside the realm that built his career. He is now curating a major 1990s exhibition at Tate Britain, featuring work by a group of pivotal artists and photographers from the era. The show, he notes, aims to explore the decade's artistic collaboration – and highlight those who did not receive adequate attention at the time.

"The establishment sometimes neglected to promote the truly innovative creators because they weren't of the expected background," he comments.

The magazine 72 itself uses a unique approach, forgoing traditional advertising in favour of integrated partnerships. "The question is, what can we create collaboratively? Is it an experience, a series? The magazine is one component of a greater ecosystem."

A Testament to Resilience

Currently, Enninful stands as one of the world's most respected cultural influencers. His path, he believes, is a testament to the power of following your instincts.

What would the younger Edward make of the man he has become? He smiles. "It would be a surprise, but he’d be proud. In those days I was a rebel. I would not have believed institutions like Tate were within my reach."

He adds. "Gratitude is key. We lost our home, we fled our country. I nearly lost my vision. So fear is not a factor. People have underestimated me my entire life. But I am unstoppable once I’ve made up my mind to do something."