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

A serendipitous meeting while riding the tube in 1988 transformed the trajectory of a young Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the capital's buzzing 1990s cultural landscape, evolving from mannequin to stylist and, by the age of 18, becoming the style editor of the publication i-D.

"It was the zenith of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I knew we’d be great friends. We all mixed across disciplines. Friday became Saturday into Sunday. I long for that energy."

While Enninful may seem nostalgic, he is far from alone. Recently, a fond idealisation of the 1990s has reached fever pitch. Yet over the last thirty years, Enninful feels a profound shift. "I believe, we’re more divided now than we were in the 90s," he says. "It’s not even this country – it’s worldwide."

A Perceived Regression

This regression is hard to ignore: the resurgence of far-right politics, the pushback against social awareness, and the reinforcement of traditional beauty standards. Replacing the hope of the late 90s, today a different political figure looms as a possible leader. Even, the Union Jack, once an symbol of Cool Britannia, has sparked debate once more.

For Enninful, the solution has consistently been to promote culture in all its multifaceted forms. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a diverse array of influential figures from music.

"Those in a position of influence should wield it," he comments, explaining those editorial decisions. "There is much discussion about immigration; I wouldn't be here if Britain were not a open country, if it did not offer my family a refuge and an education. That’s the Britain I always loved. I believe this period will fade."

A New Wave of Consciousness

He takes comfort in the younger generation: "They are far more conscious than we were. They discuss unconscious bias – I was not even aware what that was."

Those early experiences would shape a pioneering career characterised by fearlessness and representation. Enninful broke barriers as the first man, first Black editor, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His leadership featured landmark covers showcasing people of diverse backgrounds, curvy models, older individuals, and individuals from varied communities. Critically, sales increased.

"When you ignore vast segments of the population, it’s more than that you’re excluding people – it’s commercially unwise," he states.

A New Chapter as a 'Disruptor'

He has recently launched his new venture EE72 and its flagship publication, 72, his key endeavour since moving on from his former post. 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 physicians, the lawyers, the leader. Then we came to England, with nothing, and I was a minority. I was incredibly timid. My teachers predicted I’d have no future. Me and my brothers were stopped by the police the Sus laws … those experiences gave me a dual identity on the inside and the outside."

Contrary to the popular image of fashion editors as loud and highly strung, Enninful is softly spoken and exudes calm. His life has included its share of hardship, including well-documented battles with mental health and substance use.

He has also faced serious health challenges, having undergone several surgeries on his eyes, resulting in limited vision. "I was in such a difficult period for two years, not working, anxious I was going to lose my sight. It’s comparable to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever ends, 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 fashion person."

Curating a Cultural Era

This refusal to be defined narrowly has led him outside the world that established him. He is now putting together a major 1990s exhibition at Tate Britain, showcasing work by a group of influential artists and photographers from the era. The show, he says, aims to explore the decade's artistic collaboration – and highlight those who lacked adequate attention at the time.

"Galleries often failed to promote the truly innovative creators because they lacked the traditional credentials," he comments.

This project itself uses a different strategy, eschewing traditional advertising in favour of integrated partnerships. "Our approach is, what can we do together? Is it an experience, a podcast? The magazine is a piece within a greater ecosystem."

Looking Forward Without Fear

Currently, Enninful stands as one of the world's most influential creative power brokers. His story, he states, is a proof to the power of following your instincts.

How would the younger Edward react to the Edward of today? He laughs heartily. "He would be astonished, but he’d be proud. In those days I was a rebel. I never imagined institutions like Tate were necessarily for me."

He pauses. "I never take anything for granted. We were displaced, we fled our country. I came close to losing my vision. So there is no room for fear. People have underestimated me my whole career. But no obstacle is too great once I’ve decided to do something."