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

A chance encounter during a tube journey in 1988 changed forever the path of a teenage Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the London's electric 1990s cultural landscape, progressing from model to stylist and, while still a teenager, becoming the fashion director of the iconic i-D.

"It was the height of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I understood we’d be great friends. We all socialised across disciplines. Friday bled into Saturday into Sunday. I miss that energy."

While Enninful may seem nostalgic, he is not the only one. Lately, a longing look back of the 1990s has grown intense. However in the intervening decades, Enninful perceives a significant change. "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."

Shifting Attitudes

This shift is increasingly evident: the rise of nationalist groups, the reaction against so-called "wokeness", and the reinforcement of narrow beauty standards. Replacing the hope of the Blair era, currently a more divisive political personality appears as a possible leader. Even, the Union Jack, once an emblem of national pride, has become contentious again.

For Enninful, the solution has always been to celebrate culture in all its variety. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a diverse array of cultural icons from music.

"Those in a position of influence should employ it," he comments, referring to those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain were not a open country, if it refused my family a refuge and an education. That’s the Britain I cherished. I trust this phase will end."

Hope in the Next Generation

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

Those early experiences would forge a groundbreaking career characterised by boldness and diversity. Enninful made history as the first male, first Black editor, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His tenure featured diverse covers showcasing people of diverse backgrounds, curvy models, an octogenarian, and people from varied communities. Critically, sales grew.

"When you ignore huge sections of the population, it’s more than that you’re failing to represent – it’s bad for business," he states.

Launching a Creative Venture

He has established his agency EE72 and its accompanying magazine, 72, his key endeavour since leaving his former post. He states his aim to continue being a "disruptor".

"I constantly interrogate the conventional wisdom. I was raised in a place where everybody was black – the physicians, the attorneys, the president. Then we came to England, without funds, and I was a minority. I was painfully reserved. My teachers declared I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … all that gave me a unique perspective both an insider and outsider."

Contrary to the caricature of industry figures as brash and temperamental, Enninful is measured in tone and projects peace. His journey has involved challenges, including publicly shared periods of mental health and addiction.

He has also endured significant health issues, having had multiple operations on his eyes, resulting in impaired eyesight. "I endured such a time of fear for two years, not working, terrified I was going to go blind. It’s like PTSD; you just live in fear 24/7. I prayed, if this ever ends, I’m just going to do everything that I was so fearful to do. I’m not going to limit myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This refusal to fit into a box has inspired him beyond the world that established him. He is now organising a seminal 1990s exhibition at Tate Britain, showcasing work by a roster of pivotal artists and photographers from the era. The show, he says, aims to evoke the decade's artistic collaboration – and highlight those who weren't given a spotlight at the time.

"Galleries didn't always celebrate the most relevant talents because they did not have the expected background," he states.

This project itself functions with a novel approach, forgoing traditional advertising in favour of creative collaborations. "Our approach is, what can we create collaboratively? Is it an event, a series? The magazine is part of a greater ecosystem."

Looking Forward Without Fear

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

What would the Edward of the 90s think of the his current self? He chuckles. "He’d be in shock, but he’d be pleased. Back then I was anti-establishment. I didn't think institutions like Tate were necessarily for me."

He reflects. "I never take anything for granted. We were displaced, we left our homeland. I nearly lost my vision. So fear isn't an option. People have counted me out my whole career. But nothing can stop me once I’ve decided to do something."