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

An unexpected discovery during a tube journey in 1988 transformed the path of a teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the city's vibrant 1990s creative scene, evolving from mannequin to stylist and, while still a teenager, becoming the style editor of i-D magazine.

"It was the zenith of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I felt we’d be kindred spirits. We all socialised across disciplines. Friday became Saturday into Sunday. I long for that energy."

If Enninful sounds nostalgic, he is in good company. In recent times, a longing look back of the 1990s has reached fever pitch. Yet since that time, Enninful believes a noticeable regression. "In my view, we’re less tolerant now than we were in the 90s," he remarks. "This isn't just this country – it’s everywhere."

A Perceived Regression

This change is increasingly evident: the rise of far-right politics, the backlash against progressive values, and the return of Eurocentric beauty standards. Replacing the hope of the previous decade, now a more divisive political personality stands as a possible leader. Furthermore, the British flag, once an symbol of national pride, has returned as a polarising symbol.

According to Enninful, the solution has long been to promote culture in all its diversity. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a diverse array of influential figures from literature.

"People with a voice should employ it," he asserts, referring to those editorial decisions. "Everyone talks about immigration; I could not have had this life if Britain was not a welcoming country, if it did not offer my family a home and an education. 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: "They are far more conscious than we were. They analyse systemic issues – I didn't even know what that was."

Those early experiences would shape a groundbreaking career characterised by boldness and representation. Enninful made history as the first man, first Black editor, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His leadership featured landmark covers showcasing Black models, plus-sized women, older individuals, and people from all walks of life. Critically, sales rose.

"When you ignore vast segments of the population, it’s not just that you’re excluding people – it’s commercially unwise," he explains.

Beyond the Magazine World

He has recently launched his new venture EE72 and its accompanying magazine, 72, his key endeavour since departing his former post. He expresses a desire to continue being a "innovator".

"My nature is to challenge the established norms. I was born and raised in a place where Black professionals were the norm – the physicians, the lawyers, the president. Then we arrived in England, penniless, and I became the 'other'. I was incredibly timid. My teachers predicted I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … those experiences gave me a unique perspective both an insider and outsider."

Defying the stereotype of fashion editors as loud and highly strung, Enninful is calm and exudes calm. His path has included its share of hardship, including openly discussed periods of depression and substance use.

He has also endured serious health issues, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I was in such a dark place for two years, away from work, anxious I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I prayed, if this ever is over, I’m just going to pursue all that I was so afraid to do. I’m not going to confine myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This refusal to be typecast has propelled him away from the world that established him. He is now putting together a significant 1990s exhibition at Tate Britain, featuring work by a roster of influential artists and photographers from the era. The show, he explains, aims to evoke the decade's creative cross-pollination – and spotlight those who did not receive due recognition at the time.

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

This venture itself functions with a unique business model, forgoing 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 part of a larger creative platform."

Looking Forward Without Fear

Currently, Enninful operates as one of the world's most powerful cultural influencers. His journey, he feels, is a demonstration to the power of pursuing your passions.

How would the Enninful of that era react to the Edward of today? He smiles. "He would be astonished, but he’d be impressed. In those days I was a rebel. I didn't think institutions like Tate were within my reach."

He pauses. "Gratitude is key. We fled, we left our homeland. I nearly lost my vision. So fear isn't an option. People have doubted me my entire life. But nothing can stop me once I’ve set my intention to do something."