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

An unexpected discovery during a tube journey in 1988 altered the course of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the capital's buzzing 1990s creative scene, moving from mannequin to stylist and, by the age of 18, becoming the fashion director of the publication i-D.

"It was the height of the Young British Artists – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I understood we’d be kindred spirits. We all hung out across disciplines. Friday became Saturday into Sunday. I long for that energy."

While Enninful may seem wistful, he is far from alone. In recent times, a wistful romanticisation of the 1990s has grown intense. But over the last thirty years, Enninful perceives a significant change. "I believe, we’re less tolerant now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s everywhere."

Shifting Attitudes

This shift is difficult to overlook: the resurgence of far-right politics, the pushback against progressive values, and the reinforcement of narrow beauty standards. Replacing the optimism of the previous decade, today a more divisive political figure stands as a potential leader. Even, the Union Jack, once an emblem of Cool Britannia, has sparked debate once more.

According to Enninful, the response has consistently been to champion culture in all its multifaceted forms. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a wide range of prominent faces from politics.

"Individuals with a platform should employ it," he says, discussing those publishing choices. "There is much discussion about immigration; I would not be in this position if Britain were not a lenient country, if it refused my family a home and an opportunity. That’s the Britain I cherished. I believe this period will fade."

Hope in the Next Generation

He finds hope in the youth of today: "They are far more conscious than we were. They talk about implicit prejudice – I was not even aware what that was."

Those early experiences would shape a trailblazing career characterised by boldness and inclusivity. Enninful set a precedent as the first male, first Black editor, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His leadership featured diverse covers showcasing models of colour, curvy models, older individuals, and individuals from all walks of life. Significantly, sales rose.

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

Beyond the Magazine World

He has since founded his creative company EE72 and its flagship publication, 72, his first major project since departing his previous role. He states his aim to continue being a "disruptor".

"I’ve always questioned the status quo. I was raised in a place where the majority was Black – the physicians, the lawyers, the president. Then we came to England, without funds, and I found myself on the margins. I was very shy. My teachers said I’d never amount to anything. Me and my brothers were harassed under the Sus laws … this duality gave me a unique perspective on the inside and the outside."

Contrary to the popular image of industry figures as loud and highly strung, Enninful is softly spoken and exudes calm. His journey has involved hardship, including openly discussed periods of depression and substance use.

He has also undergone significant health challenges, having had multiple operations on his eyes, now leaving him with impaired eyesight. "I endured such a dark place for two years, not working, anxious I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I thought, if this ever passes, I’m just going to pursue all that I was so afraid to do. I’m not going to confine myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This refusal to fit into a box has led him away from the industry that made his name. He is now organising a seminal 1990s exhibition at Tate Britain, featuring work by a group of influential artists and photographers from the era. The show, he notes, aims to evoke the decade's artistic collaboration – and give platform to those who lacked a spotlight at the time.

"The establishment often failed to celebrate the right artists because they lacked the expected background," he comments.

This venture itself uses a novel strategy, eschewing traditional advertising in favour of creative collaborations. "The question is, what can we achieve in partnership? Is it an event, a podcast? The magazine is a piece within a broader vision."

A Testament to Resilience

Currently, Enninful operates as one of the world's most influential industry leaders. His path, he feels, is a testament to the power of following your instincts.

What would the Edward of the 90s think of the Edward of today? He laughs heartily. "He’d be in shock, but he’d be pleased. Back then I was a rebel. I never imagined institutions like Tate were necessarily for me."

He adds. "Gratitude is key. We were displaced, we fled our country. I came close to losing my vision. So there is no room for fear. People have underestimated me my entire life. But nothing can stop me once I’ve decided to do something."