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

A chance encounter during a tube journey in 1988 transformed the course of a teenage Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was quickly drawn into the city's vibrant 1990s creative scene, evolving from model to stylist and, while still a teenager, becoming the fashion director of the publication i-D.

"That time was the peak of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I understood we’d be great friends. We all socialised across disciplines. Friday bled into Saturday into Sunday. I yearn for that rawness."

Although Enninful appears nostalgic, he is in good company. Lately, a wistful romanticisation of the 1990s has reached fever pitch. Yet in the intervening decades, Enninful believes a profound shift. "In my view, we’re more divided now than we were in the 90s," he remarks. "It’s not even this country – it’s worldwide."

A Cultural Backslide

This shift is increasingly evident: the rise of far-right politics, the backlash against social awareness, and the reinforcement of narrow beauty standards. Where once there was the hope of the previous decade, now a different political personality appears as a potential leader. Furthermore, the Union Jack, once an symbol of Cool Britannia, has become contentious again.

According to Enninful, the solution has long been to celebrate culture in all its diversity. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a broad spectrum of prominent faces from music.

"Individuals with a platform should employ it," he asserts, explaining those editorial decisions. "Everyone talks about immigration; I could not have had this life if Britain were not a welcoming country, if it did not offer my family a refuge and an education. That’s the Britain I always loved. I hope this moment will end."

The Younger Generation's Awareness

He draws solace in the youth of today: "Their awareness is greater than we were. They analyse implicit prejudice – I was not even aware what that was."

His formative years would define a pioneering career marked by boldness and representation. Enninful made history as the first man, first black man, first gay man, and first disabled Black gay man to lead at British Vogue. His leadership featured historic front pages showcasing models of colour, curvy models, an octogenarian, and individuals from all walks of life. Importantly, sales grew.

"To overlook huge sections of the population, it’s more than that you’re excluding people – it’s commercially unwise," he states.

Beyond the Magazine World

He has established his agency EE72 and its flagship publication, 72, his first major project since leaving his previous role. He states his aim to continue being a "innovator".

"My nature is to challenge 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, penniless, and I was a minority. I was incredibly timid. My teachers declared I’d never amount to anything. Me and my brothers were harassed under the suspicion laws … this duality gave me a sense of being between worlds."

In contrast to the popular image of industry figures as brash and highly strung, Enninful is softly spoken and radiates serenity. His life has involved adversity, including well-documented periods of depression and substance use.

He has also endured serious health challenges, having undergone several surgeries on his eyes, leading to impaired eyesight. "I endured such a dark place 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 ends, I’m just going to pursue all that I was so fearful to do. I’m not going to confine myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This determination to fit into a box has propelled him away from the world that established him. He is now organising a major 1990s exhibition at Tate Britain, bringing together work by a host of defining artists and photographers from the era. The show, he explains, aims to evoke the decade's creative cross-pollination – and give platform to those who weren't given a spotlight at the time.

"Galleries sometimes neglected to shine a light on the truly innovative creators because they did not have the traditional credentials," he states.

This project itself uses a unique business model, forgoing traditional advertising in favour of partnership-based projects. "We ask, what can we achieve in partnership? Is it an event, a podcast? The magazine is a piece within a larger creative platform."

A Testament to Resilience

Today, Enninful operates as one of the world's most respected industry leaders. His story, he feels, is a testament to the power of pursuing your passions.

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

He adds. "I never take anything for granted. We were displaced, we left our homeland. I nearly lost my vision. So there is no room for fear. People have doubted me my whole career. But I am unstoppable once I’ve made up my mind to do something."