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

A chance encounter on the London Underground in 1988 transformed the trajectory of a teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the London's vibrant 1990s creative scene, moving from mannequin to stylist and, before turning twenty, becoming the fashion director of i-D magazine.

"That time 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 rolled into Saturday into Sunday. I long for that energy."

If Enninful sounds nostalgic, he is far from alone. Recently, a wistful romanticisation of the 1990s has grown intense. However since that time, Enninful perceives a profound shift. "I feel, we’re less accepting now than we were in the 90s," he remarks. "This isn't just this country – it’s everywhere."

A Cultural Backslide

This change is hard to ignore: the rise of far-right politics, the reaction against so-called "wokeness", and the reassertion of traditional beauty standards. In place of the optimism of the previous decade, today a more divisive political force looms as a possible leader. Even, the Union Jack, once an badge of cultural optimism, has become contentious again.

According to Enninful, the solution has always been to champion culture in all its variety. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a broad spectrum of influential figures from music.

"People with a voice should wield it," he asserts, explaining those editorial decisions. "Everyone talks about immigration; I would not be in this position if Britain hadn't been a open country, if it did not offer my family a refuge and an opportunity. That’s the Britain I always loved. I trust this phase will end."

The Younger Generation's Awareness

He takes comfort in the next generation: "Their awareness is greater than we were. They analyse unconscious bias – I had no concept what that was."

Those early experiences would shape a pioneering career built on fearlessness and representation. Enninful set a precedent as the first man, first black man, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His tenure featured diverse covers showcasing models of colour, curvy models, an octogenarian, and individuals from varied communities. Significantly, sales rose.

"When you ignore large portions of the population, it’s not just that you’re not being inclusive – it’s commercially unwise," he states.

Launching a Creative Venture

He has established his creative company EE72 and its flagship publication, 72, his key endeavour since moving on from his previous role. He states his aim to continue being a "change-maker".

"My nature is to challenge the established norms. I was raised in a place where Black professionals were the norm – the doctors, the lawyers, the leader. Then we came to 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 … all that gave me a dual identity both an insider and outsider."

Defying the popular image of industry figures as brash and highly strung, Enninful is calm and radiates serenity. His path has not been immune to challenges, including publicly shared struggles with mental health and addiction.

He has also undergone significant health issues, having undergone several surgeries on his eyes, resulting in limited vision. "I endured such a time of fear for two years, not working, terrified I was going to lose my sight. It’s comparable to PTSD; you just exist in a state of dread 24/7. I thought, if this ever is over, I’m just going to do everything that I was so scared to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This determination to be defined narrowly has inspired him away from the world that made his name. He is now putting together a seminal 1990s exhibition at Tate Britain, featuring work by a group of pivotal artists and photographers from the era. The show, he says, aims to capture the decade's creative cross-pollination – and give platform to those who weren't given a spotlight at the time.

"Institutions sometimes neglected to promote the truly innovative creators because they did not have the traditional credentials," he comments.

This venture itself uses a novel strategy, eschewing traditional advertising in favour of creative collaborations. "Our approach is, what can we create collaboratively? Is it an event, a series? The magazine is part of a larger creative platform."

Looking Forward Without Fear

Now, Enninful is regarded as one of the world's most powerful industry leaders. His story, he states, is a proof to the power of following your instincts.

How would the Enninful of that era make of the man he has become? He laughs heartily. "He’d be in shock, but he’d be impressed. In those days I was anti-establishment. I didn't think institutions like Tate were necessarily for me."

He adds. "Gratitude is key. We lost our home, we fled our country. I nearly lost my vision. So fear isn't an option. People have underestimated me my whole career. But nothing can stop me once I’ve made up my mind to do something."