Edward Enninful on Modern Britain: 'A Decline in Tolerance' Compared to the Nineties.

A chance encounter on the London Underground in 1988 altered the course of a young Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was quickly drawn into the London's vibrant 1990s creative scene, progressing from model to stylist and, while still a teenager, becoming the fashion director of i-D magazine.

"That era was the zenith of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "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 yearn for that spontaneity."

If Enninful sounds wistful, he is far from alone. Recently, a longing look back of the 1990s has grown intense. However over the last thirty years, Enninful believes a profound shift. "I feel, we’re less tolerant now than we were in the 90s," he observes. "It’s not even this country – it’s worldwide."

Shifting Attitudes

This regression is difficult to overlook: the growth of populist movements, the pushback against so-called "wokeness", and the reassertion of traditional beauty standards. Where once there was the optimism of the late 90s, now a different political force looms as a possible leader. Furthermore, the Union Jack, once an emblem of cultural optimism, has returned as a polarising symbol.

According to Enninful, the solution has always been to celebrate 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 portrait of modern Britain, featuring a diverse array of prominent faces from music.

"Individuals with a platform should wield it," he asserts, discussing those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain was not a lenient country, if it did not offer my family a home and an opportunity. That’s the Britain I believed in. I believe this period will pass."

A New Wave of Consciousness

He takes comfort in the younger generation: "They’re much more aware than we were. They analyse systemic issues – I didn't even know what that was."

Those early experiences would define a trailblazing career built on fearlessness and inclusivity. Enninful set a precedent as the first man, first Black editor, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His tenure featured landmark covers showcasing models of colour, curvy models, an octogenarian, and individuals from all walks of life. Importantly, sales grew.

"When you ignore large portions of the population, it’s not just that you’re failing to represent – it’s a poor strategy," he emphasises.

Launching a Creative Venture

He has since founded his creative company EE72 and its accompanying magazine, 72, his key endeavour since departing his previous role. He expresses a desire to continue being a "disruptor".

"I’ve always questioned the established norms. I was born and raised in a place where the majority was Black – the doctors, the lawyers, the president. Then we arrived in England, with nothing, and I found myself on the margins. I was very shy. My teachers declared I’d never amount to anything. Me and my brothers were stopped by the police the Sus laws … all that gave me a unique perspective both an insider and outsider."

In contrast to the popular image of industry figures as brash and highly strung, Enninful is calm and projects peace. His path has not been immune to hardship, including publicly shared struggles with mental health and substance use.

He has also endured significant health issues, having had multiple operations on his eyes, resulting in impaired eyesight. "I was in such a time of fear for two years, away from work, anxious I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I thought, if this ever is over, I’m just going to pursue all that I was so fearful to do. I’m not going to limit myself to just being an editor or a fashion person."

A Foray into Curation

This refusal to fit into a box has propelled him away from the industry that made his name. He is now organising 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 evoke the decade's interdisciplinary energy – and spotlight those who weren't given due recognition at the time.

"Galleries didn't always shine a light on the most relevant talents because they weren't of the expected background," he states.

The magazine 72 itself uses a unique approach, 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."

An Unstoppable Drive

Now, Enninful stands as one of the world's most influential creative power brokers. His story, he feels, is a testament to the power of defying expectations.

How would the Enninful of that era react to the man he has become? He chuckles. "He would be astonished, but he’d be proud. At that time I was a rebel. I never imagined institutions like Tate were necessarily for me."

He reflects. "Nothing is assumed. We lost our home, we left our homeland. I nearly lost my vision. So fear is not a factor. People have counted me out my entire life. But nothing can stop me once I’ve set my intention to do something."