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

An unexpected discovery while riding the tube in 1988 transformed the course of a teenage Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the London's electric 1990s creative scene, progressing from mannequin to stylist and, before turning twenty, becoming the fashion director of the publication i-D.

"That era was the peak of the Young British Artists – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I knew we’d be great friends. We all hung out across disciplines. Friday bled into Saturday into Sunday. I miss that rawness."

If Enninful sounds nostalgic, he is far from alone. Recently, a longing look back of the 1990s has reached fever pitch. However over the last thirty years, Enninful believes a noticeable regression. "I believe, we’re more divided now than we were in the 90s," he says. "This isn't just this country – it’s worldwide."

A Cultural Backslide

This regression is hard to ignore: the resurgence of populist movements, the backlash against social awareness, and the reassertion of traditional beauty standards. In place of the hope of the Blair era, now a more divisive political figure looms as a possible leader. Even, the British flag, once an badge of Cool Britannia, has become contentious again.

For Enninful, the solution has long been to promote culture in all its diversity. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a wide range of cultural icons from politics.

"People with a voice should employ it," he says, discussing those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain were not a lenient country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I always loved. I hope this phase will pass."

A New Wave of Consciousness

He finds hope in the younger generation: "Their awareness is greater than we were. They discuss implicit prejudice – I had no concept what that was."

The beginnings of his career would define a groundbreaking career marked by boldness and diversity. Enninful broke barriers as the first man, first black man, first gay man, and first disabled gay man of colour to lead at British Vogue. His time featured historic front pages showcasing people of diverse backgrounds, plus-sized women, older individuals, and people from all walks of life. Importantly, sales increased.

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

Beyond the Magazine World

He has since founded his agency EE72 and its flagship publication, 72, his first major project since moving on from his former post. He states his aim to continue being a "disruptor".

"My nature is to challenge the status quo. I was raised in a place where Black professionals were the norm – the doctors, the lawyers, the president. Then we came to England, penniless, and I became the 'other'. I was incredibly timid. My teachers declared I’d have no future. Me and my brothers were subject to police stops the suspicion laws … all that gave me a sense of being between worlds."

In contrast to the popular image of industry figures as loud and highly strung, Enninful is measured in tone and exudes calm. His path has involved hardship, including publicly shared periods of mental health and substance use.

He has also endured significant health challenges, having had multiple operations on his eyes, resulting in partial sight. "I experienced such a difficult period for two years, away from work, anxious I was going to go blind. It’s comparable to PTSD; you just exist in a state of dread 24/7. I thought, if this ever passes, I’m just going to pursue all that I was so afraid to do. I’m not going to confine myself to just being an editor or a figure in fashion."

A Foray into Curation

This refusal to fit into a box has inspired him beyond the realm that built his career. He is now curating a significant 1990s exhibition at Tate Britain, featuring work by a group of influential artists and photographers from the era. The show, he notes, aims to capture the decade's interdisciplinary energy – and give platform to those who lacked adequate attention at the time.

"Galleries often failed to promote the truly innovative creators because they did not have the expected background," he states.

The magazine 72 itself operates on a different approach, forgoing 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 broader vision."

A Testament to Resilience

Currently, Enninful operates as one of the world's most powerful cultural influencers. His path, he believes, is a proof to the power of pursuing your passions.

How would the Enninful of that era think of the Edward of today? He chuckles. "He’d be in shock, but he’d be pleased. Back then I was sceptical of institutions. I would not have believed institutions like Tate were a place for someone like me."

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 counted me out my entire life. But nothing can stop me once I’ve made up my mind to do something."