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

An unexpected discovery on the London Underground in 1988 changed forever the course of a young Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the London's electric 1990s creative scene, moving from mannequin to stylist and, by the age of 18, becoming the fashion director of i-D magazine.

"That era was the height of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I knew we’d be close. We all hung out across disciplines. Friday became Saturday into Sunday. I long for that energy."

Although Enninful appears wistful, he is in good company. In recent times, a longing look back of the 1990s has become pervasive. Yet in the intervening decades, Enninful feels a significant change. "In my view, we’re more divided now than we were in the 90s," he says. "This isn't just this country – it’s a global phenomenon."

A Cultural Backslide

This change is difficult to overlook: the rise of nationalist groups, the reaction against progressive values, and the reinforcement of narrow beauty standards. Where once there was the hope of the previous decade, currently a different political force appears as a possible leader. Furthermore, the Union Jack, once an badge of Cool Britannia, has sparked debate once more.

In Enninful's view, the response has long been to promote culture in all its multifaceted forms. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a broad spectrum of cultural icons from music.

"Those in a position of influence should wield it," he asserts, explaining those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain hadn't been a open country, if it refused my family a refuge and an opportunity. That’s the Britain I always loved. I believe this phase will fade."

The Younger Generation's Awareness

He draws solace in the youth of today: "They’re much more aware than we were. They talk about unconscious bias – I didn't even know what that was."

The beginnings of his career would forge a groundbreaking career built on boldness and inclusivity. Enninful set a precedent as the first male, first Black editor, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His leadership featured landmark covers showcasing people of diverse backgrounds, curvy models, older individuals, and people from varied communities. Significantly, sales rose.

"Ignoring vast segments of the population, it’s more than that you’re not being inclusive – it’s commercially unwise," 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 says he wants to continue being a "innovator".

"I’ve always questioned the status quo. I was born and raised in a place where the majority was Black – the physicians, the attorneys, the president. Then we came to England, without funds, and I was a minority. I was incredibly timid. My teachers predicted I’d have no future. Me and my brothers were subject to police stops the Sus laws … all that gave me a sense of being both an insider and outsider."

In contrast to the stereotype of industry figures as brash and highly strung, Enninful is calm and exudes calm. His life has included its share of hardship, including publicly shared struggles with mental health and addiction.

He has also endured significant health issues, having undergone several surgeries on his eyes, leading to limited vision. "I was in such a dark place for two years, not working, anxious I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I vowed, if this ever passes, I’m just going to do everything that I was so fearful to do. I’m not going to limit myself to just being an editor or a figure in fashion."

A Foray into Curation

This drive to be defined narrowly has inspired him beyond the world that built his career. He is now organising a seminal 1990s exhibition at Tate Britain, bringing together 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 spotlight those who lacked adequate attention at the time.

"Institutions sometimes neglected to celebrate the right artists because they lacked the traditional credentials," he observes.

This project itself operates on a unique strategy, eschewing traditional advertising in favour of partnership-based projects. "The question is, what can we do together? Is it an experience, a series? The magazine is one component of a greater ecosystem."

An Unstoppable Drive

Now, Enninful is regarded as one of the world's most powerful cultural influencers. His path, he states, is a testament to the power of following your instincts.

What would the younger Edward think of the man he has become? He smiles. "He would be astonished, but he’d be proud. Back then I was sceptical of institutions. 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 counted me out my whole career. But nothing can stop me once I’ve made up my mind to do something."