Edward Enninful reflects on Modern Britain: 'We Are Less Tolerant Now' Than in the 90s.

An unexpected discovery on the London Underground in 1988 changed forever the course of a young Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the capital's electric 1990s creative scene, evolving from model to stylist and, before turning twenty, becoming the fashion director of the publication i-D.

"That era was the height of the YBA movement – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I knew we’d be close. We all mixed across disciplines. Friday bled into Saturday into Sunday. I yearn for that rawness."

If Enninful sounds sentimental, he is far from alone. In recent times, a wistful romanticisation of the 1990s has grown intense. Yet in the intervening decades, Enninful believes a noticeable regression. "I feel, we’re more divided now than we were in the 90s," he remarks. "This isn't just this country – it’s everywhere."

A Cultural Backslide

This change is difficult to overlook: the growth of nationalist groups, the pushback against progressive values, and the return of traditional beauty standards. Where once there was the hope of the Blair era, today a different political force looms as a possible leader. Even, the British flag, once an badge of cultural optimism, has returned as a polarising symbol.

For Enninful, the response has consistently been to celebrate culture in all its variety. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a wide range of prominent faces from music.

"People with a voice should wield it," he comments, referring to those editorial decisions. "Everyone talks about immigration; I would not be in this position if Britain was not a open country, if it did not offer my family a home and an education. That’s the Britain I cherished. I believe this phase will end."

A New Wave of Consciousness

He finds hope in the younger generation: "They are far more conscious than we were. They talk about systemic issues – I didn't even know what that was."

Those early experiences would define a trailblazing career characterised by fearlessness and representation. Enninful broke barriers as the first male, first black man, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His leadership featured diverse covers showcasing people of diverse backgrounds, curvy models, an octogenarian, and people from all walks of life. Importantly, sales increased.

"When you ignore huge sections of the population, it’s not just that you’re not being inclusive – it’s bad for business," he emphasises.

A New Chapter as a 'Disruptor'

He has established his new venture EE72 and its accompanying magazine, 72, his premier initiative since departing his former post. He says he wants to continue being a "change-maker".

"I’ve always questioned the status quo. I was brought up in a place where the majority was Black – the doctors, the attorneys, the leader. Then we arrived in England, with nothing, and I was a minority. I was painfully reserved. My teachers said I’d achieve nothing. Me and my brothers were harassed under the Sus laws … this duality gave me a sense of being between worlds."

Defying the stereotype of fashion editors as loud and temperamental, Enninful is calm and exudes calm. His path has involved adversity, including well-documented battles with depression and substance use.

He has also endured serious health issues, having had multiple operations on his eyes, resulting in impaired eyesight. "I endured such a time of fear for two years, not working, 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 ends, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to confine myself to just being an editor or a fashion person."

A Foray into Curation

This drive to be defined narrowly has inspired him away from the world that established him. He is now organising a significant 1990s exhibition at Tate Britain, featuring work by a group of pivotal artists and photographers from the era. The show, he explains, aims to explore the decade's interdisciplinary energy – and spotlight those who did not receive a spotlight at the time.

"The establishment didn't always celebrate the truly innovative creators because they lacked the right pedigree," he comments.

The magazine 72 itself uses a unique business model, forgoing traditional advertising in favour of integrated partnerships. "The question is, what can we achieve in partnership? Is it an experience, a series? The magazine is a piece within a larger creative platform."

Looking Forward Without Fear

Today, Enninful is regarded as one of the world's most respected industry leaders. His story, he states, is a proof to the power of pursuing your passions.

How would the Enninful of that era think of the his current self? He laughs heartily. "He would be astonished, but he’d be impressed. In those days I was sceptical of institutions. I never imagined institutions like Tate were a place for someone like me."

He adds. "I never take anything for granted. We were displaced, we left our homeland. I nearly lost my vision. So fear is not a factor. People have doubted me my whole career. But I am unstoppable once I’ve made up my mind to do something."