Edward Enninful on Modern Britain: 'Britain Feels Less Tolerant Now' Compared to the Nineties.

A serendipitous meeting while riding the tube in 1988 changed forever the trajectory of a teenage Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the London's buzzing 1990s cultural landscape, evolving from mannequin to stylist and, before turning twenty, becoming the fashion director of i-D magazine.

"It was the peak of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I felt we’d be great friends. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I yearn for that spontaneity."

Although Enninful appears nostalgic, he is in good company. Recently, a longing look back of the 1990s has become pervasive. But since that time, Enninful feels a noticeable regression. "I believe, we’re less accepting now than we were in the 90s," he remarks. "This isn't just this country – it’s worldwide."

A Cultural Backslide

This shift is hard to ignore: the rise of far-right politics, the reaction against progressive values, and the reassertion of narrow beauty standards. Where once there was the hope of the late 90s, currently a more divisive political figure looms as a potential leader. Furthermore, the Union Jack, once an badge of national pride, has returned as a polarising symbol.

According to Enninful, the antidote has always been to celebrate culture in all its variety. 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 broad spectrum of influential figures from politics.

"Those in a position of influence should wield it," he says, discussing those publishing choices. "Everyone talks about immigration; I would not be in this position if Britain were not a welcoming country, if it hadn't given my family a refuge and an education. That’s the Britain I always loved. I trust this moment will fade."

The Younger Generation's Awareness

He takes comfort in the youth of today: "They’re much more aware than we were. They discuss implicit prejudice – I had no concept what that was."

Those early experiences would forge a pioneering career characterised by boldness and diversity. Enninful broke barriers as the first man, first black man, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His leadership featured landmark covers showcasing models of colour, plus-sized women, older individuals, and people from all walks of life. Importantly, sales rose.

"When you ignore large portions of the population, it’s more than that you’re not being inclusive – it’s a poor strategy," he explains.

A New Chapter as a 'Disruptor'

He has established his new venture EE72 and its flagship publication, 72, his first major project since leaving his former post. He says he wants to continue being a "change-maker".

"I’ve always questioned the conventional wisdom. I was raised in a place where the majority was Black – the physicians, the attorneys, the leader. Then we arrived in England, penniless, and I became the 'other'. I was incredibly timid. My teachers said I’d have no future. Me and my brothers were stopped by the police the Sus laws … all that gave me a unique perspective both an insider and outsider."

Contrary to the caricature of industry figures as brash and temperamental, Enninful is calm and radiates serenity. His life has not been immune to challenges, including openly discussed periods of depression and substance use.

He has also faced serious health challenges, having undergone several surgeries on his eyes, now leaving him with limited vision. "I experienced such a difficult period for two years, not working, anxious I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I thought, if this ever is over, I’m just going to pursue all that I was so afraid to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

A Foray into Curation

This determination to be defined narrowly has led him outside the world that built his career. He is now putting together a major 1990s exhibition at Tate Britain, featuring work by a group of influential artists and photographers from the era. The show, he notes, aims to evoke the decade's interdisciplinary energy – and highlight those who weren't given adequate attention at the time.

"The establishment often failed to promote the truly innovative creators because they lacked the traditional credentials," he observes.

This project itself uses a different approach, eschewing traditional advertising in favour of integrated partnerships. "We ask, what can we achieve in partnership? Is it an event, a series? The magazine is part of a broader vision."

Looking Forward Without Fear

Now, Enninful is regarded as one of the world's most influential cultural influencers. His path, he believes, is a testament to the power of pursuing your passions.

What would the younger Edward think of the his current self? He chuckles. "He’d be in shock, but he’d be proud. Back then I was sceptical of institutions. I would not have believed institutions like Tate were within my reach."

He pauses. "Gratitude is key. We fled, we fled our country. I almost lost my vision. So fear isn't an option. People have doubted me my entire life. But nothing can stop me once I’ve made up my mind to do something."