Edward Enninful reflects on Modern Britain: 'A Decline in Tolerance' Than We Were Decades Ago.

An unexpected discovery while riding the tube in 1988 changed forever the path of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the city's vibrant 1990s artistic milieu, progressing from mannequin to stylist and, before turning twenty, becoming the style editor of i-D magazine.

"That era was the height 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 understood we’d be close. We all mixed across disciplines. Friday became Saturday into Sunday. I yearn for that energy."

While Enninful may seem nostalgic, he is not the only one. Lately, a wistful romanticisation of the 1990s has reached fever pitch. Yet over the last thirty years, Enninful perceives a significant change. "I believe, we’re less accepting now than we were in the 90s," he says. "The issue extends beyond this country – it’s a global phenomenon."

Shifting Attitudes

This shift is difficult to overlook: the resurgence of far-right politics, the pushback against progressive values, and the reassertion of Eurocentric beauty standards. Where once there was the optimism of the late 90s, currently a more divisive political force appears as a potential leader. Even, the Union Jack, once an badge of national pride, has become contentious again.

In Enninful's view, the response has consistently been to celebrate culture in all its multifaceted forms. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a broad spectrum of influential figures from politics.

"Those in a position of influence should employ it," he asserts, discussing those editorial decisions. "There is much discussion about immigration; I wouldn't be here if Britain was not a welcoming country, if it hadn't given my family a home and an education. That’s the Britain I always loved. I trust this phase will pass."

A New Wave of Consciousness

He finds hope in the next generation: "They are far more conscious than we were. They discuss implicit prejudice – I was not even aware what that was."

The beginnings of his career would define a trailblazing career built on fearlessness and diversity. Enninful set a precedent as the first man, first Black editor, first gay man, and first disabled gay man of colour to lead at British Vogue. His tenure featured landmark covers showcasing Black models, curvy models, older individuals, and people from varied communities. Importantly, sales rose.

"To overlook vast segments of the population, it’s more than that you’re excluding people – it’s bad for business," he emphasises.

Launching a Creative Venture

He has recently launched his new venture EE72 and its accompanying magazine, 72, his first major project since leaving his former post. He says he wants to continue being a "change-maker".

"My nature is to challenge the established norms. I was born and raised in a place where the majority was Black – the physicians, the lawyers, the leader. Then we arrived in England, without funds, and I became the 'other'. I was very shy. My teachers said I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … all that gave me a unique perspective between worlds."

Defying the stereotype of fashion editors as loud and temperamental, Enninful is measured in tone and exudes calm. His journey has involved challenges, including openly discussed battles with mental health and substance use.

He has also faced serious health challenges, having had multiple operations on his eyes, leading to limited vision. "I was in such a difficult period for two years, away from work, fearing I was going to go blind. 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 embrace every opportunity that I was so fearful to do. I’m not going to confine myself to just being an editor or a fashion person."

A Foray into Curation

This drive to be defined narrowly has propelled him away from the realm that established him. He is now curating a major 1990s exhibition at Tate Britain, featuring work by a roster of pivotal artists and photographers from the era. The show, he notes, aims to capture the decade's interdisciplinary energy – and spotlight those who weren't given adequate attention at the time.

"Institutions often failed to promote the most relevant talents because they did not have the expected background," he comments.

The magazine 72 itself operates on a different strategy, eschewing traditional advertising in favour of creative collaborations. "Our approach is, what can we achieve in partnership? Is it an event, a series? The magazine is part of a larger creative platform."

Looking Forward Without Fear

Today, Enninful is regarded as one of the world's most influential creative power brokers. His path, he states, is a demonstration to the power of pursuing your passions.

How would the younger Edward react to the Edward of today? He smiles. "He would be astonished, but he’d be impressed. In those days I was sceptical of institutions. I didn't think institutions like Tate were within my reach."

He adds. "Gratitude is key. We fled, we fled our country. I almost lost my vision. So there is no room for fear. People have doubted me my entire life. But I am unstoppable once I’ve decided to do something."