Edward Enninful discusses Modern Britain: 'Britain Feels Less Tolerant Now' Than in the 90s.

A serendipitous meeting on the London Underground in 1988 transformed the path of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the city's vibrant 1990s creative scene, evolving from model to stylist and, before turning twenty, becoming the style editor of i-D magazine.

"That time was the height of the Young British Artists – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I understood we’d be kindred spirits. We all hung out across disciplines. Friday became Saturday into Sunday. I miss that energy."

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

A Cultural Backslide

This change is increasingly evident: the growth of nationalist groups, the pushback against so-called "wokeness", and the return of traditional beauty standards. In place of the hope of the previous decade, today a different political figure appears as a possible leader. Even, the Union Jack, once an emblem of national pride, has returned as a polarising symbol.

According to Enninful, the antidote has long been to champion culture in all its diversity. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a diverse array of influential figures from literature.

"Those in a position of influence should wield it," he comments, discussing those editorial decisions. "Everyone talks about immigration; I could not have had this life if Britain hadn't been a open country, if it did not offer my family a home and an opportunity. That’s the Britain I always loved. I hope this period will pass."

A New Wave of Consciousness

He takes comfort in the younger generation: "They’re much more aware than we were. They analyse implicit prejudice – I didn't even know what that was."

Those early experiences would forge a pioneering career built on boldness and diversity. Enninful broke barriers as the first male, first Black editor, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His leadership featured historic front pages showcasing models of colour, curvy models, an octogenarian, and individuals from varied communities. Significantly, sales increased.

"To overlook huge sections of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he emphasises.

A New Chapter as a 'Disruptor'

He has since founded his new venture EE72 and its flagship publication, 72, his first major project since moving on from his former post. He says he wants to continue being a "innovator".

"I constantly interrogate the status quo. I was brought up in a place where the majority was Black – the doctors, the attorneys, the leader. Then we came to England, penniless, and I was a minority. I was incredibly timid. My teachers declared I’d never amount to anything. Me and my brothers were harassed under the Sus laws … those experiences gave me a dual identity on the inside and the outside."

In contrast to the stereotype of industry figures as brash and temperamental, Enninful is measured in tone and exudes calm. His path has included its share of adversity, including well-documented battles with mental health and addiction.

He has also endured significant health issues, having undergone several surgeries on his eyes, now leaving him with limited vision. "I experienced such a time of fear for two years, away from work, terrified I was going to go blind. It’s comparable to PTSD; you just live in fear 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 limit myself to just being an editor or a figure in fashion."

A Foray into Curation

This determination to be defined narrowly has led him beyond the realm that built his career. He is now curating a significant 1990s exhibition at Tate Britain, bringing together work by a host of defining artists and photographers from the era. The show, he notes, aims to evoke the decade's artistic collaboration – and give platform to those who lacked due recognition at the time.

"Institutions often failed to promote the most relevant talents because they did not have the expected background," he comments.

The magazine 72 itself operates on a novel business model, rejecting traditional advertising in favour of partnership-based projects. "The question is, what can we achieve in partnership? Is it an experience, a podcast? The magazine is one component of a larger creative platform."

A Testament to Resilience

Now, Enninful stands as one of the world's most influential cultural influencers. His journey, he states, is a testament to the power of defying expectations.

How would the Edward of the 90s react to the his current self? He laughs heartily. "It would be a surprise, but he’d be impressed. At that time I was a rebel. I would not have believed institutions like Tate were necessarily for me."

He adds. "Nothing is assumed. We were displaced, we fled our country. I almost lost my vision. So fear is not a factor. People have underestimated me my whole career. But I am unstoppable once I’ve set my intention to do something."