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

A serendipitous meeting during a tube journey in 1988 changed forever the path of a teenage Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was quickly drawn into the London's vibrant 1990s artistic milieu, progressing from mannequin to stylist and, before turning twenty, becoming the fashion director of i-D magazine.

"It was the height of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I felt we’d be close. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I miss that spontaneity."

Although Enninful appears nostalgic, he is in good company. Lately, a longing look back of the 1990s has grown intense. However since that time, Enninful perceives a profound shift. "In my view, we’re less tolerant now than we were in the 90s," he says. "It’s not even this country – it’s a global phenomenon."

Shifting Attitudes

This change is difficult to overlook: the growth of populist movements, the pushback against so-called "wokeness", and the reassertion of Eurocentric beauty standards. Replacing the optimism of the previous decade, now a more divisive political figure appears as a possible leader. Furthermore, the Union Jack, once an emblem of Cool Britannia, has sparked debate once more.

In Enninful's view, the response has always been to promote 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, including a wide range of prominent faces from politics.

"People with a voice should use it," he asserts, discussing those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain hadn't been a welcoming country, if it did not offer my family a refuge and an opportunity. That’s the Britain I cherished. I trust this phase will fade."

The Younger Generation's Awareness

He finds hope in the youth of today: "They’re much more aware than we were. They talk about implicit prejudice – I had no concept what that was."

Those early experiences would forge a trailblazing career built on fearlessness and representation. Enninful made history as the first male, first Black editor, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His time featured historic front pages showcasing Black models, plus-sized women, older individuals, and people from all walks of life. Significantly, sales grew.

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

A New Chapter as a 'Disruptor'

He has recently launched 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".

"I’ve always questioned the conventional wisdom. I was raised in a place where the majority was Black – the doctors, the lawyers, the president. Then we came to England, penniless, and I was a minority. I was incredibly timid. My teachers predicted I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … those experiences gave me a sense of being on the inside and the outside."

Defying the popular image of industry figures as brash and highly strung, Enninful is measured in tone and projects peace. His life has involved challenges, including openly discussed periods of mental health and substance use.

He has also faced significant health issues, having undergone several surgeries on his eyes, resulting in partial sight. "I endured such a time of fear 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 is over, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to restrict myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This determination to be defined narrowly has led him outside the world that built his career. He is now organising a significant 1990s exhibition at Tate Britain, featuring work by a roster of defining artists and photographers from the era. The show, he notes, aims to evoke the decade's interdisciplinary energy – and give platform to those who lacked adequate attention at the time.

"Galleries sometimes neglected to promote the most relevant talents because they did not have the traditional credentials," he observes.

The magazine 72 itself functions with a novel business model, forgoing traditional advertising in favour of partnership-based projects. "We ask, what can we create collaboratively? Is it an experience, a series? The magazine is part of a broader vision."

An Unstoppable Drive

Currently, Enninful is regarded as one of the world's most influential cultural influencers. His story, he states, is a demonstration to the power of pursuing your passions.

What would the Edward of the 90s make of the Edward of today? He smiles. "He would be astonished, but he’d be pleased. Back then I was a rebel. I would not have believed institutions like Tate were within my reach."

He pauses. "I never take anything for granted. We were displaced, we left our homeland. 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 made up my mind to do something."