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

A chance encounter during a tube journey in 1988 transformed the course of a teenage Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the city's vibrant 1990s creative scene, progressing from model to stylist and, while still a teenager, becoming the fashion director of the iconic i-D.

"That era was the height of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I felt we’d be kindred spirits. We all hung out across disciplines. Friday became Saturday into Sunday. I miss that rawness."

While Enninful may seem wistful, he is far from alone. Recently, a fond idealisation of the 1990s has grown intense. But since that time, Enninful feels a profound shift. "In my view, we’re less accepting now than we were in the 90s," he says. "It’s not even this country – it’s a global phenomenon."

Shifting Attitudes

This regression is hard to ignore: the growth of nationalist groups, the pushback against progressive values, and the reinforcement of narrow beauty standards. In place of the hope of the previous decade, today a different political personality appears as a possible leader. Furthermore, the British flag, once an emblem of national pride, has returned as a polarising symbol.

According to Enninful, the response has always been to champion culture in all its variety. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a diverse array of influential figures from music.

"Individuals with a platform should wield it," he says, explaining those editorial decisions. "People often debate about immigration; I wouldn't be here if Britain was not a lenient country, if it hadn't given my family a home and an opportunity. That’s the Britain I cherished. I hope this period will fade."

Hope in the Next Generation

He finds hope in the younger generation: "Their awareness is greater than we were. They talk about systemic issues – I had no concept what that was."

Those early experiences would define a pioneering career built on fearlessness and inclusivity. Enninful made history as the first man, first Black editor, first openly gay person, and first disabled Black gay man to lead at British Vogue. His time featured historic front pages showcasing Black models, plus-sized women, older individuals, and individuals from all walks of life. Critically, sales grew.

"When you ignore huge sections of the population, it’s more than that you’re not being inclusive – it’s a poor strategy," he emphasises.

Launching a Creative Venture

He has established his creative company EE72 and its flagship publication, 72, his premier initiative since moving on from his previous role. He states his aim to continue being a "disruptor".

"My nature is to challenge the conventional wisdom. I was born and raised in a place where everybody was black – the doctors, the lawyers, the leader. Then we arrived in England, penniless, and I found myself on the margins. I was painfully reserved. My teachers declared I’d have no future. Me and my brothers were stopped by the police the Sus laws … all that gave me a unique perspective on the inside and the outside."

Defying the popular image of industry figures as brash and temperamental, Enninful is measured in tone and exudes calm. His life has included its share of challenges, including openly discussed struggles with depression and addiction.

He has also undergone serious health challenges, having had multiple operations on his eyes, now leaving him with limited vision. "I endured such a difficult period for two years, away from work, anxious I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I prayed, if this ever passes, I’m just going to pursue all that I was so afraid to do. I’m not going to confine myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This drive to fit into a box has inspired him away from the realm that established him. He is now curating a significant 1990s exhibition at Tate Britain, featuring work by a roster of defining artists and photographers from the era. The show, he explains, aims to capture the decade's interdisciplinary energy – and highlight those who weren't given adequate attention at the time.

"Galleries sometimes neglected to shine a light on the right artists because they weren't of the traditional credentials," he observes.

This venture itself operates on a novel strategy, forgoing traditional advertising in favour of partnership-based projects. "We ask, what can we do together? Is it an experience, a series? The magazine is a piece within a greater ecosystem."

An Unstoppable Drive

Today, Enninful operates as one of the world's most influential cultural influencers. His story, he feels, is a demonstration to the power of following your instincts.

How would the Edward of the 90s make of the Edward of today? He chuckles. "It would be a surprise, but he’d be proud. Back then I was a rebel. I would not have believed institutions like Tate were necessarily for me."

He pauses. "Gratitude is key. We were displaced, we left our homeland. I came close to losing my vision. So there is no room for fear. People have counted me out my entire life. But I am unstoppable once I’ve set my intention to do something."