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

An unexpected discovery on the London Underground in 1988 altered the path of a teenage Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the city's vibrant 1990s cultural landscape, moving from model to stylist and, before turning twenty, becoming the style editor of i-D magazine.

"That time was the zenith of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I understood we’d be close. We all socialised across disciplines. Friday bled into Saturday into Sunday. I long for that energy."

If Enninful sounds wistful, he is in good company. Recently, a wistful romanticisation of the 1990s has become pervasive. But since that time, Enninful feels a significant change. "In my view, we’re less tolerant now than we were in the 90s," he observes. "The issue extends beyond this country – it’s worldwide."

A Perceived Regression

This change is hard to ignore: the growth of far-right politics, the backlash against so-called "wokeness", and the return of traditional beauty standards. In place of the hope of the Blair era, now a more divisive political force appears as a potential leader. Furthermore, the British flag, once an symbol of cultural optimism, has returned as a polarising symbol.

For Enninful, the antidote has consistently been to celebrate culture in all its variety. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a diverse array of cultural icons from art.

"Those in a position of influence should employ it," he asserts, referring to those publishing choices. "People often debate about immigration; I could not have had this life if Britain were not a welcoming country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I always loved. I hope this phase will end."

Hope in the Next Generation

He takes comfort in the younger generation: "Their awareness is greater than we were. They discuss unconscious bias – I didn't even know what that was."

Those early experiences would forge a pioneering career characterised by boldness and inclusivity. Enninful broke barriers as the first man, first black man, first gay man, and first disabled gay man of colour to lead at British Vogue. His time featured historic front pages showcasing Black models, curvy models, an octogenarian, and people from varied communities. Importantly, sales increased.

"Ignoring huge sections of the population, it’s not just that you’re not being inclusive – it’s bad for business," he states.

Beyond the Magazine World

He has recently launched his new venture EE72 and its accompanying magazine, 72, his key endeavour since leaving his former post. He expresses a desire to continue being a "disruptor".

"My nature is to challenge the conventional wisdom. I was brought up in a place where Black professionals were the norm – the physicians, the attorneys, the president. Then we arrived in England, without funds, and I found myself on the margins. I was incredibly timid. My teachers said I’d have no future. Me and my brothers were subject to police stops the Sus laws … this duality gave me a sense of being on the inside and the outside."

Contrary to the popular image of industry figures as loud and highly strung, Enninful is calm and exudes calm. His path has included its share of challenges, including openly discussed periods of depression and substance use.

He has also endured serious health issues, having had multiple operations on his eyes, resulting in impaired eyesight. "I experienced such a time of fear 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 is over, I’m just going to do everything that I was so afraid to do. I’m not going to limit myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This determination to be typecast has led him away from the world that built his career. He is now organising a seminal 1990s exhibition at Tate Britain, featuring work by a roster of pivotal artists and photographers from the era. The show, he says, aims to evoke the decade's creative cross-pollination – and spotlight those who lacked a spotlight at the time.

"Galleries often failed to promote the most relevant talents because they lacked the traditional credentials," he comments.

This venture itself functions with a different business model, eschewing traditional advertising in favour of creative collaborations. "The question is, what can we create collaboratively? Is it an experience, a podcast? The magazine is a piece within a larger creative platform."

Looking Forward Without Fear

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

What would the Enninful of that era react to the man he has become? He laughs heartily. "He would be astonished, but he’d be impressed. In those days 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 lost our home, we fled our country. I nearly lost my vision. So fear isn't an option. People have counted me out my whole career. But no obstacle is too great once I’ve decided to do something."