Edward Enninful reflects on Modern Britain: 'Britain Feels Less Tolerant Now' Compared to the Nineties.

An unexpected discovery on the London Underground in 1988 changed forever the trajectory of a young Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the London's electric 1990s creative scene, progressing from model to stylist and, by the age of 18, becoming the fashion director of the iconic i-D.

"That era was the height of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I understood we’d be great friends. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I yearn for that rawness."

If Enninful sounds nostalgic, he is not the only one. Recently, a longing look back of the 1990s has grown intense. Yet since that time, Enninful believes 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 everywhere."

Shifting Attitudes

This change is hard to ignore: the growth of nationalist groups, the pushback against progressive values, and the return of narrow beauty standards. Where once there was the optimism of the previous decade, currently a more divisive political personality stands as a possible leader. Even, the Union Jack, once an badge of Cool Britannia, has returned as a polarising symbol.

For Enninful, the antidote has long been to champion culture in all its diversity. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a wide range of influential figures from art.

"Individuals with a platform should wield it," he says, explaining those publishing choices. "There is much discussion 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 opportunity. That’s the Britain I cherished. I believe this moment will fade."

A New Wave of Consciousness

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

Those early experiences would shape a groundbreaking career marked by fearlessness and diversity. Enninful made history as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His tenure featured diverse covers showcasing models of colour, plus-sized women, an octogenarian, and people from all walks of life. Importantly, sales increased.

"When you ignore huge sections of the population, it’s more than that you’re excluding people – it’s a poor strategy," he explains.

Launching a Creative Venture

He has since founded his new venture EE72 and its flagship publication, 72, his first major project since departing his former post. He says he wants to continue being a "disruptor".

"I constantly interrogate the conventional wisdom. I was raised in a place where Black professionals were the norm – the physicians, the lawyers, the leader. Then we came to 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 … all that gave me a sense of being between worlds."

Defying the popular image of fashion editors as loud and highly strung, Enninful is measured in tone and radiates serenity. His journey has included its share of hardship, including openly discussed battles with depression and substance use.

He has also faced serious health challenges, having had multiple operations on his eyes, resulting in partial sight. "I experienced such a time of fear for two years, away from work, terrified I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I prayed, 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 fashion person."

A Foray into Curation

This refusal to be typecast has inspired him away from the industry that built his career. 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 notes, aims to capture the decade's artistic collaboration – and highlight those who did not receive adequate attention at the time.

"Galleries often failed to shine a light on the truly innovative creators because they lacked the traditional credentials," he observes.

This project itself operates on a unique business model, rejecting traditional advertising in favour of partnership-based projects. "Our approach is, what can we create collaboratively? Is it an event, a series? The magazine is a piece within a larger creative platform."

An Unstoppable Drive

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

How would the younger Edward think of the his current self? He smiles. "He would be astonished, but he’d be proud. At that time I was a rebel. I didn't think institutions like Tate were necessarily for me."

He adds. "Gratitude is key. We fled, we left our homeland. I nearly lost my vision. So fear isn't an option. People have underestimated me my entire life. But I am unstoppable once I’ve decided to do something."