Edward Enninful discusses Modern Britain: 'Britain Feels Less Tolerant Now' Than We Were Decades Ago.

A chance encounter on the London Underground in 1988 altered the path of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the city's buzzing 1990s artistic milieu, evolving from mannequin to stylist and, before turning twenty, becoming the fashion director of i-D magazine.

"It was the height of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he remembers. "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 rawness."

While Enninful may seem nostalgic, he is not the only one. Lately, a wistful romanticisation of the 1990s has become pervasive. Yet in the intervening decades, Enninful feels a noticeable regression. "In my view, we’re less tolerant now than we were in the 90s," he says. "This isn't just this country – it’s a global phenomenon."

A Cultural Backslide

This shift is difficult to overlook: the rise of nationalist groups, the pushback against progressive values, and the reinforcement of Eurocentric beauty standards. Replacing the optimism of the Blair era, now a different political figure appears as a potential leader. Even, the British flag, once an emblem of cultural optimism, has sparked debate once more.

For Enninful, the antidote 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 snapshot of modern Britain, showcasing a diverse array of influential figures from art.

"Individuals with a platform should wield it," he asserts, referring to those publishing choices. "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 refuge and an opportunity. That’s the Britain I cherished. I hope this period will fade."

The Younger Generation's Awareness

He finds hope in the youth of today: "They’re much more aware than we were. They discuss systemic issues – I didn't even know what that was."

The beginnings of his career would define a pioneering career characterised by boldness and representation. Enninful set a precedent as the first male, first Black editor, first openly gay person, and first disabled Black gay man to lead at British Vogue. His time featured landmark covers showcasing Black models, plus-sized women, older individuals, and people from varied communities. Significantly, sales increased.

"Ignoring large portions of the population, it’s not just that you’re excluding people – it’s a poor strategy," he emphasises.

A New Chapter as a 'Disruptor'

He has since founded his creative company EE72 and its flagship publication, 72, his key endeavour since moving on from his previous role. He expresses a desire to continue being a "change-maker".

"My nature is to challenge the status quo. I was raised in a place where Black professionals were the norm – the physicians, the lawyers, the leader. Then we arrived in England, without funds, and I was a minority. I was incredibly timid. My teachers declared I’d have no future. Me and my brothers were harassed under the Sus laws … all that gave me a unique perspective both an insider and outsider."

In contrast to the caricature of industry figures as brash and highly strung, Enninful is measured in tone and radiates serenity. His journey has involved adversity, including openly discussed battles with depression and addiction.

He has also endured serious health challenges, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I endured such a difficult period for two years, not working, anxious I was going to go blind. It’s like PTSD; you just live in fear 24/7. I prayed, if this ever is over, I’m just going to do everything 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 drive to fit into a box has propelled him beyond the industry that made his name. He is now organising a major 1990s exhibition at Tate Britain, bringing together work by a group of influential artists and photographers from the era. The show, he says, aims to evoke the decade's artistic collaboration – and spotlight those who weren't given due recognition at the time.

"Institutions sometimes neglected to celebrate the right artists because they did not have the traditional credentials," he states.

This venture itself operates on a different business model, rejecting traditional advertising in favour of creative collaborations. "The question is, what can we achieve in partnership? Is it an experience, 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 states, is a proof to the power of defying expectations.

What would the younger Edward react to the Edward of today? He chuckles. "He’d be in shock, but he’d be pleased. At that time I was a rebel. I never imagined institutions like Tate were necessarily for me."

He adds. "Gratitude is key. We lost our home, we left our homeland. I came close to losing my vision. So fear isn't an option. People have counted me out my whole career. But I am unstoppable once I’ve set my intention to do something."