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

A serendipitous meeting on the London Underground in 1988 changed forever the path of a teenage Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the London's electric 1990s cultural landscape, moving from model to stylist and, before turning twenty, becoming the style editor of the iconic i-D.

"That time was the peak of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I knew we’d be great friends. We all hung out across disciplines. Friday became Saturday into Sunday. I miss that spontaneity."

Although Enninful appears sentimental, he is far from alone. Lately, a fond idealisation of the 1990s has become pervasive. But over the last thirty years, Enninful feels a noticeable regression. "I believe, we’re less tolerant now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s worldwide."

A Perceived Regression

This regression is increasingly evident: the rise of nationalist groups, the backlash against progressive values, and the reassertion of narrow beauty standards. Where once there was the optimism of the previous decade, today a more divisive political force stands as a possible leader. Even, the British flag, once an emblem of national pride, has returned as a polarising symbol.

According to Enninful, the response has always been to promote culture in all its multifaceted forms. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a broad spectrum of cultural icons from literature.

"People with a voice should employ it," he says, discussing those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain was not a welcoming country, if it did not offer my family a refuge and an education. That’s the Britain I believed in. I believe this moment will fade."

Hope in the Next Generation

He takes comfort in the youth of today: "Their awareness is greater than we were. They talk about unconscious bias – I didn't even know what that was."

Those early experiences would define a trailblazing career built on boldness and representation. Enninful set a precedent as the first male, first Black editor, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His tenure featured historic front pages showcasing models of colour, curvy models, older individuals, and individuals from all walks of life. Importantly, sales grew.

"To overlook huge sections of the population, it’s not just that you’re failing to represent – it’s commercially unwise," he emphasises.

Launching a Creative Venture

He has established his agency EE72 and its flagship publication, 72, his premier initiative since departing his former post. He expresses a desire to continue being a "disruptor".

"My nature is to challenge the status quo. I was brought up in a place where the majority was Black – the doctors, the lawyers, the president. Then we arrived in England, penniless, and I became the 'other'. I was very shy. My teachers declared I’d achieve nothing. Me and my brothers were subject to police stops the Sus laws … this duality gave me a unique perspective both an insider and outsider."

In contrast to the caricature of industry figures as brash and temperamental, Enninful is calm and projects peace. His journey has included its share of challenges, including publicly shared battles with mental health and addiction.

He has also undergone significant health challenges, having undergone several surgeries on his eyes, now leaving him with partial sight. "I experienced such a dark place for two years, away from work, anxious I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I thought, if this ever is over, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to restrict myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This refusal to fit into a box has propelled him outside the realm that made his name. He is now organising a major 1990s exhibition at Tate Britain, bringing together work by a group of defining artists and photographers from the era. The show, he says, aims to explore the decade's creative cross-pollination – and give platform to those who did not receive due recognition at the time.

"The establishment often failed to shine a light on the most relevant talents because they did not have the traditional credentials," he observes.

This project itself functions with a novel approach, rejecting traditional advertising in favour of creative collaborations. "We ask, what can we achieve in partnership? Is it an experience, a podcast? The magazine is one component of a greater ecosystem."

An Unstoppable Drive

Now, Enninful stands as one of the world's most powerful cultural influencers. His journey, he states, is a demonstration to the power of pursuing your passions.

How would the Edward of the 90s make of the his current self? He smiles. "He would be astonished, but he’d be proud. At that time I was sceptical of institutions. I didn't think institutions like Tate were within my reach."

He reflects. "Gratitude is key. We fled, we left our homeland. I nearly lost my vision. So fear is not a factor. People have underestimated me my entire life. But I am unstoppable once I’ve decided to do something."