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

An unexpected discovery during a tube journey in 1988 transformed the path of a young Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the city's buzzing 1990s cultural landscape, moving from model to stylist and, while still a teenager, becoming the fashion director of i-D magazine.

"That era was the height of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I knew we’d be great friends. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I miss that rawness."

Although Enninful appears sentimental, he is not the only one. Recently, a fond idealisation of the 1990s has become pervasive. But since that time, Enninful feels a profound shift. "I believe, we’re less accepting now than we were in the 90s," he says. "This isn't just this country – it’s worldwide."

A Cultural Backslide

This regression is increasingly evident: the rise of far-right politics, the reaction against so-called "wokeness", and the reinforcement of Eurocentric beauty standards. In place of the hope of the Blair era, today a different political personality stands as a possible leader. Even, the British flag, once an badge of national pride, has returned as a polarising symbol.

In Enninful's view, the solution has consistently been to champion culture in all its variety. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a wide range of cultural icons from music.

"Those in a position of influence should use it," he comments, referring to those publishing choices. "There is much discussion 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 education. That’s the Britain I always loved. I hope this phase will fade."

The Younger Generation's Awareness

He draws solace in the youth of today: "They’re much more aware than we were. They talk about systemic issues – I didn't even know what that was."

The beginnings of his career would shape a pioneering career characterised by fearlessness and diversity. Enninful broke barriers as the first male, first black man, first gay man, and first disabled Black gay man to lead at British Vogue. His tenure featured diverse covers showcasing Black models, curvy models, older individuals, and people from all walks of life. Critically, sales grew.

"To overlook large portions of the population, it’s not just that you’re excluding people – it’s a poor strategy," he emphasises.

Beyond the Magazine World

He has established his new venture EE72 and its accompanying magazine, 72, his premier initiative since leaving his former post. He says he wants to continue being a "change-maker".

"I’ve always questioned the status quo. I was brought up in a place where everybody was black – the physicians, the attorneys, the leader. Then we came to England, penniless, and I became the 'other'. I was incredibly timid. My teachers said I’d never amount to anything. Me and my brothers were stopped by the police the suspicion laws … all that gave me a dual identity between worlds."

In contrast to the popular image of fashion editors as loud and temperamental, Enninful is measured in tone and projects peace. His journey has included its share of challenges, including well-documented struggles with mental health and substance use.

He has also faced significant health challenges, having undergone several surgeries on his eyes, now leaving him with limited vision. "I experienced such a time of fear for two years, away from work, fearing I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever passes, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to confine myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This refusal to be defined narrowly has led him beyond the industry that built his career. He is now curating a significant 1990s exhibition at Tate Britain, showcasing work by a host of influential artists and photographers from the era. The show, he notes, aims to explore the decade's interdisciplinary energy – and give platform to those who did not receive a spotlight at the time.

"Galleries sometimes neglected to celebrate the most relevant talents because they lacked the right pedigree," he comments.

This project itself uses a novel approach, forgoing traditional advertising in favour of creative collaborations. "The question is, what can we achieve in partnership? Is it an event, a series? The magazine is one component of a broader vision."

A Testament to Resilience

Currently, Enninful operates as one of the world's most powerful creative power brokers. His journey, he feels, is a testament to the power of following your instincts.

What would the Edward of the 90s make of the his current self? He laughs heartily. "He would be astonished, but he’d be pleased. Back then I was anti-establishment. I would not have believed institutions like Tate were within my reach."

He adds. "Nothing is assumed. We fled, we left our homeland. I nearly lost my vision. So there is no room for fear. People have doubted me my entire life. But I am unstoppable once I’ve decided to do something."