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

A chance encounter during a tube journey in 1988 altered the path of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the city's electric 1990s creative scene, moving from mannequin to stylist and, by the age of 18, becoming the style editor of the publication i-D.

"That era was the height of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I understood we’d be great friends. We all mixed across disciplines. Friday bled into Saturday into Sunday. I yearn for that energy."

If Enninful sounds wistful, he is in good company. Lately, a longing look back of the 1990s has reached fever pitch. Yet over the last thirty years, Enninful believes a profound shift. "I feel, we’re less accepting now than we were in the 90s," he says. "This isn't just this country – it’s a global phenomenon."

Shifting Attitudes

This regression is hard to ignore: the growth of far-right politics, the pushback against so-called "wokeness", and the return of traditional beauty standards. Replacing the optimism of the previous decade, currently a different political force appears as a possible leader. Even, the Union Jack, once an badge of cultural optimism, has become contentious again.

For Enninful, the solution has long been to champion 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 broad spectrum of cultural icons from literature.

"Individuals with a platform should employ it," he asserts, explaining those publishing choices. "People often debate about immigration; I could not have had this life if Britain were not a lenient country, if it hadn't given my family a home and an opportunity. That’s the Britain I always loved. I believe this phase will end."

Hope in the Next Generation

He draws solace in the next generation: "Their awareness is greater than we were. They discuss implicit prejudice – I didn't even know what that was."

The beginnings of his career would define a groundbreaking career marked by fearlessness and inclusivity. Enninful set a precedent as the first man, first black man, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His tenure featured historic front pages showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and people from all walks of life. Critically, sales grew.

"When you ignore large portions of the population, it’s not just that you’re excluding people – it’s commercially unwise," he explains.

A New Chapter as a 'Disruptor'

He has established his agency EE72 and its accompanying magazine, 72, his key endeavour since leaving his former post. He says he wants to continue being a "change-maker".

"I’ve always questioned the conventional wisdom. I was raised 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 predicted I’d never amount to anything. Me and my brothers were subject to police stops the Sus laws … all that gave me a sense of being both an insider and outsider."

In contrast to the popular image of industry figures as loud and highly strung, Enninful is softly spoken and projects peace. His journey has not been immune to adversity, including well-documented struggles with depression and substance use.

He has also undergone significant health issues, having had multiple operations on his eyes, leading to impaired eyesight. "I experienced such a difficult period for two years, away from work, fearing I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I vowed, if this ever passes, I’m just going to do everything that I was so afraid to do. I’m not going to confine myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This determination to fit into a box has propelled him outside the world that made his name. He is now putting together a seminal 1990s exhibition at Tate Britain, bringing together work by a host of defining artists and photographers from the era. The show, he notes, aims to explore the decade's interdisciplinary energy – and give platform to those who weren't given adequate attention at the time.

"Galleries often failed to shine a light on the truly innovative creators because they lacked the expected background," he observes.

This venture itself functions with a novel business model, rejecting traditional advertising in favour of partnership-based projects. "We ask, what can we create collaboratively? Is it an experience, a podcast? The magazine is one component of a broader vision."

An Unstoppable Drive

Now, Enninful operates as one of the world's most powerful industry leaders. His path, he believes, is a testament to the power of defying expectations.

What would the Edward of the 90s react to the man he has become? He smiles. "He’d be in shock, but he’d be pleased. At that time I was anti-establishment. I would not have believed institutions like Tate were a place for someone like me."

He reflects. "I never take anything for granted. We were displaced, we fled our country. I almost lost my vision. So there is no room for fear. People have counted me out my entire life. But nothing can stop me once I’ve set my intention to do something."