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

A chance encounter on the London Underground in 1988 transformed the path of a young Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the capital's buzzing 1990s creative scene, progressing from mannequin to stylist and, by the age of 18, becoming the fashion director of i-D magazine.

"That era was the peak of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I understood we’d be kindred spirits. We all hung out across disciplines. Friday became Saturday into Sunday. I long for that energy."

Although Enninful appears sentimental, he is far from alone. Recently, a wistful romanticisation of the 1990s has grown intense. But in the intervening decades, Enninful believes a profound shift. "I believe, we’re less tolerant now than we were in the 90s," he observes. "This isn't just this country – it’s worldwide."

A Perceived Regression

This regression is increasingly evident: the resurgence of far-right politics, the pushback against so-called "wokeness", and the reinforcement of Eurocentric beauty standards. Where once there was the optimism of the previous decade, today a more divisive political figure stands as a potential leader. Even, the British flag, once an badge of cultural optimism, has become contentious again.

For Enninful, the response has always been to celebrate 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, showcasing a broad spectrum of influential figures from music.

"Those in a position of influence should employ it," he says, referring to those publishing choices. "Everyone talks about immigration; I could not have had this life if Britain was not a lenient country, if it did not offer my family a home and an opportunity. That’s the Britain I cherished. I believe this period will end."

Hope in the Next Generation

He finds hope in the next generation: "Their awareness is greater than we were. They talk about unconscious bias – I didn't even know what that was."

The beginnings of his career would define a pioneering career marked by boldness and inclusivity. Enninful broke barriers as the first man, first black man, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His tenure featured historic front pages showcasing Black models, plus-sized women, an octogenarian, and people from all walks of life. Importantly, sales rose.

"To overlook vast segments of the population, it’s not just that you’re not being inclusive – it’s bad for business," he emphasises.

Launching a Creative Venture

He has established his creative company EE72 and its accompanying magazine, 72, his key endeavour since moving on from his former post. He states his aim to continue being a "innovator".

"My nature is to challenge the established norms. I was born and raised in a place where the majority was Black – the physicians, the lawyers, the president. Then we came to England, without funds, and I was a minority. I was incredibly timid. My teachers declared I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … this duality gave me a dual identity both an insider and outsider."

Contrary to the stereotype of industry figures as brash and highly strung, Enninful is softly spoken and projects peace. His path has not been immune to challenges, including openly discussed struggles with depression and substance use.

He has also faced significant health challenges, having undergone several surgeries on his eyes, resulting in partial sight. "I experienced such a time of fear 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 thought, if this ever passes, I’m just going to do everything that I was so afraid to do. I’m not going to restrict myself to just being an editor or a fashion person."

A Foray into Curation

This refusal to be defined narrowly has led him away from the industry that established him. He is now organising a significant 1990s exhibition at Tate Britain, bringing together work by a host of pivotal artists and photographers from the era. The show, he says, aims to explore the decade's artistic collaboration – and spotlight those who did not receive adequate attention at the time.

"Galleries often failed to celebrate the truly innovative creators because they weren't of the traditional credentials," he states.

This project itself uses a novel approach, eschewing traditional advertising in favour of partnership-based projects. "The question is, what can we create collaboratively? Is it an event, a podcast? The magazine is a piece within a broader vision."

An Unstoppable Drive

Currently, Enninful stands as one of the world's most influential industry leaders. His story, he feels, is a testament to the power of pursuing your passions.

How would the younger Edward think of the man he has become? He chuckles. "He’d be in shock, but he’d be pleased. At that time I was a rebel. I would not have believed institutions like Tate were necessarily for me."

He adds. "I never take anything for granted. We were displaced, we fled our country. I nearly lost my vision. So there is no room for fear. People have counted me out my whole career. But no obstacle is too great once I’ve set my intention to do something."