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

A chance encounter on the London Underground in 1988 altered the path of a teenage Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the capital's vibrant 1990s cultural landscape, evolving from mannequin to stylist and, by the age of 18, becoming the style editor of i-D magazine.

"That time was the peak of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I felt we’d be close. We all mixed across disciplines. Friday bled into Saturday into Sunday. I miss that spontaneity."

While Enninful may seem sentimental, he is not the only one. In recent times, a longing look back of the 1990s has reached fever pitch. But in the intervening decades, Enninful believes a noticeable regression. "I feel, we’re more divided now than we were in the 90s," he observes. "The issue extends beyond this country – it’s a global phenomenon."

A Cultural Backslide

This shift is increasingly evident: the growth of nationalist groups, the reaction against social awareness, and the reassertion of Eurocentric beauty standards. Replacing the optimism of the Blair era, currently a more divisive political figure appears as a possible leader. Furthermore, the Union Jack, once an badge of Cool Britannia, has sparked debate once more.

According to Enninful, the solution has long been to celebrate culture in all its multifaceted forms. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a wide range of prominent faces from politics.

"Those in a position of influence should use it," he comments, referring to those editorial decisions. "People often debate about immigration; I wouldn't be here if Britain hadn't been a open country, if it did not offer my family a home and an education. That’s the Britain I believed in. I hope this phase will pass."

A New Wave of Consciousness

He draws solace in the next generation: "They’re much more aware than we were. They talk about implicit prejudice – I didn't even know what that was."

His formative years would forge a groundbreaking career built on fearlessness and diversity. Enninful set a precedent as the first male, first black man, first gay man, and first disabled gay man of colour to lead at British Vogue. His leadership featured historic front pages showcasing Black models, curvy models, older individuals, and people from varied communities. Importantly, sales increased.

"When you ignore vast segments of the population, it’s more than that you’re not being inclusive – it’s commercially unwise," he states.

Beyond the Magazine World

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

"I’ve always questioned the established norms. I was raised in a place where the majority was Black – the doctors, the lawyers, the president. Then we arrived in England, with nothing, and I found myself on the margins. I was very shy. My teachers declared I’d have no future. 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."

Contrary to the popular image of industry figures as loud and temperamental, Enninful is measured in tone and projects peace. His path has not been immune to adversity, including well-documented battles with mental health and substance use.

He has also undergone serious health issues, having had multiple operations on his eyes, resulting in limited vision. "I experienced 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 live in fear 24/7. I thought, if this ever is over, I’m just going to pursue all that I was so scared to do. I’m not going to limit myself to just being an editor or a figure in fashion."

A Foray into Curation

This determination to be defined narrowly has inspired him away from the industry that made his name. He is now curating a significant 1990s exhibition at Tate Britain, bringing together 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 weren't given a spotlight at the time.

"Galleries sometimes neglected to shine a light on the right artists because they did not have the expected background," he comments.

This project itself operates on a different business model, forgoing traditional advertising in favour of integrated partnerships. "We ask, what can we do together? Is it an experience, a podcast? The magazine is part of a greater ecosystem."

An Unstoppable Drive

Currently, Enninful operates as one of the world's most respected creative power brokers. His story, he states, is a proof to the power of defying expectations.

What would the Enninful of that era think of the his current self? He chuckles. "It would be a surprise, but he’d be proud. At that time I was anti-establishment. I would not have believed institutions like Tate were necessarily for me."

He adds. "Gratitude is key. We fled, we left our homeland. I came close to losing my vision. So there is no room for fear. People have underestimated me my whole career. But no obstacle is too great once I’ve made up my mind to do something."