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

A chance encounter during a tube journey in 1988 altered the course of a teenage Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the capital's vibrant 1990s cultural landscape, moving from model to stylist and, while still a teenager, becoming the fashion director of the iconic i-D.

"That time was the peak of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I felt we’d be close. We all socialised across disciplines. Friday became Saturday into Sunday. I long for that spontaneity."

Although Enninful appears nostalgic, he is far from alone. Recently, a longing look back of the 1990s has reached fever pitch. Yet since that time, Enninful believes a profound shift. "In my view, we’re more divided now than we were in the 90s," he observes. "This isn't just this country – it’s worldwide."

A Cultural Backslide

This change is difficult to overlook: the resurgence of nationalist groups, the backlash against progressive values, and the reassertion of narrow beauty standards. In place of the hope of the Blair era, currently a different political figure stands as a potential leader. Even, the British flag, once an badge of cultural optimism, has returned as a polarising symbol.

In Enninful's view, the antidote has consistently been to promote culture in all its diversity. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a wide range of prominent faces from music.

"Individuals with a platform should use it," he comments, referring to those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain were not a open country, if it did not offer my family a refuge and an opportunity. That’s the Britain I always loved. I trust this moment will end."

The Younger Generation's Awareness

He finds hope in the youth of today: "They are far more conscious than we were. They talk about unconscious bias – I had no concept what that was."

His formative years would define a pioneering career characterised by boldness and representation. Enninful made history as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His time featured diverse covers showcasing Black models, curvy models, older individuals, and people from varied communities. Importantly, sales grew.

"When you ignore vast segments of the population, it’s not just that you’re not being inclusive – it’s a poor strategy," he states.

A New Chapter as a 'Disruptor'

He has established his new venture EE72 and its accompanying magazine, 72, his first major project since departing his previous role. 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 doctors, the lawyers, the president. Then we arrived in England, without funds, 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 harassed under the Sus laws … all that gave me a dual identity on the inside and the outside."

In contrast to the caricature of industry figures as brash and temperamental, Enninful is measured in tone and radiates serenity. His journey has included its share of challenges, including publicly shared battles with depression and addiction.

He has also undergone significant health issues, having had multiple operations on his eyes, leading to limited vision. "I was in such a dark place for two years, not working, fearing I was going to go blind. It’s like PTSD; you just live in fear 24/7. I vowed, if this ever ends, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This drive to be typecast has inspired him outside the world that made his name. He is now curating a major 1990s exhibition at Tate Britain, showcasing work by a group of pivotal artists and photographers from the era. The show, he says, aims to explore the decade's interdisciplinary energy – and spotlight those who did not receive a spotlight at the time.

"Institutions didn't always shine a light on the right artists because they did not have the right pedigree," he observes.

This project itself operates on a unique strategy, rejecting traditional advertising in favour of integrated partnerships. "The question is, what can we do together? Is it an experience, a series? The magazine is a piece within a greater ecosystem."

Looking Forward Without Fear

Currently, Enninful is regarded as one of the world's most powerful creative power brokers. His path, he states, is a demonstration to the power of following your instincts.

How would the younger Edward think of the Edward of today? He chuckles. "He would be astonished, but he’d be impressed. In those days I was a rebel. I didn't think institutions like Tate were within my reach."

He pauses. "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 whole career. But no obstacle is too great once I’ve made up my mind to do something."