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

An unexpected discovery on the London Underground in 1988 altered the trajectory of a young Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn 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 time was the height of the YBA movement – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I felt we’d be close. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I long for that energy."

While Enninful may seem sentimental, he is in good company. Lately, a wistful romanticisation of the 1990s has become pervasive. But since that time, Enninful perceives a noticeable regression. "I feel, we’re less tolerant now than we were in the 90s," he says. "This isn't just this country – it’s a global phenomenon."

A Perceived Regression

This change is increasingly evident: the rise of nationalist groups, the pushback against so-called "wokeness", and the reassertion of traditional beauty standards. In place of the hope of the Blair era, now a different political personality looms as a possible leader. Even, the Union Jack, once an symbol of Cool Britannia, has returned as a polarising symbol.

In Enninful's view, the solution has always been to celebrate culture in all its multifaceted forms. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a broad spectrum of prominent faces from music.

"Those in a position of influence should employ it," he comments, discussing those publishing choices. "Everyone talks about immigration; I would not be in this position if Britain hadn't been a open country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I always loved. I believe this period will pass."

A New Wave of Consciousness

He takes comfort in the youth of today: "They are far more conscious than we were. They discuss implicit prejudice – I didn't even know what that was."

Those early experiences would define a trailblazing career marked by fearlessness and diversity. Enninful made history as the first man, first Black editor, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His time featured historic front pages showcasing models of colour, plus-sized women, an octogenarian, and individuals from varied communities. Critically, sales rose.

"Ignoring vast segments of the population, it’s not just that you’re failing to represent – it’s a poor strategy," he explains.

Launching a Creative Venture

He has since founded his creative company EE72 and its flagship publication, 72, his key endeavour since moving on from his former post. He states his aim to continue being a "disruptor".

"I’ve always questioned the status quo. I was raised in a place where everybody was black – the doctors, the lawyers, the president. Then we arrived in England, penniless, 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."

In contrast to the caricature of fashion editors as loud and highly strung, Enninful is calm and projects peace. His path has not been immune to adversity, including well-documented periods of mental health and substance use.

He has also endured serious health issues, having undergone several surgeries on his eyes, resulting in limited vision. "I experienced such a time of fear for two years, away from work, anxious I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I vowed, if this ever ends, I’m just going to pursue all that I was so scared to do. I’m not going to limit myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This refusal to be typecast has inspired him beyond the realm that made his name. He is now curating a seminal 1990s exhibition at Tate Britain, featuring work by a roster of defining artists and photographers from the era. The show, he says, aims to evoke the decade's interdisciplinary energy – and give platform to those who did not receive due recognition at the time.

"Institutions often failed to promote the truly innovative creators because they weren't of the traditional credentials," he observes.

This venture itself functions with a different business model, rejecting traditional advertising in favour of partnership-based projects. "The question is, what can we achieve in partnership? Is it an event, a series? The magazine is a piece within a greater ecosystem."

Looking Forward Without Fear

Currently, Enninful operates as one of the world's most respected cultural influencers. His story, he feels, is a testament to the power of defying expectations.

How would the Enninful of that era react to the Edward of today? He smiles. "It would be a surprise, but he’d be proud. Back then I was sceptical of institutions. I never imagined institutions like Tate were a place for someone like me."

He adds. "I never take anything for granted. We were displaced, we left our homeland. I came close to losing my vision. So fear is not a factor. People have underestimated me my whole career. But I am unstoppable once I’ve made up my mind to do something."