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

An unexpected discovery during a tube journey in 1988 changed forever the trajectory of a young Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the city's buzzing 1990s artistic milieu, progressing from mannequin to stylist and, while still a teenager, becoming the fashion director of i-D magazine.

"It was the zenith of the Young British Artists – 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 great friends. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I miss that energy."

If Enninful sounds nostalgic, he is far from alone. Lately, a wistful romanticisation of the 1990s has reached fever pitch. However over the last thirty years, Enninful feels a noticeable regression. "In my view, we’re less accepting now than we were in the 90s," he says. "This isn't just this country – it’s everywhere."

Shifting Attitudes

This change is increasingly evident: the growth of nationalist groups, the pushback against progressive values, and the reinforcement of traditional beauty standards. In place of the hope of the previous decade, today a more divisive political figure appears as a potential leader. Even, the British flag, once an symbol of national pride, has become contentious again.

In Enninful's view, the response has always been to champion culture in all its variety. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a diverse array of cultural icons from literature.

"Those in a position of influence should wield it," he comments, explaining those editorial decisions. "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 cherished. I hope this period will fade."

The Younger Generation's Awareness

He draws solace in the next generation: "They are far more conscious than we were. They analyse implicit prejudice – I was not even aware what that was."

His formative years would forge a pioneering career characterised by boldness and diversity. Enninful made history as the first male, first Black editor, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His tenure featured landmark covers showcasing models of colour, curvy models, an octogenarian, and individuals from varied communities. Critically, sales grew.

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

A New Chapter as a 'Disruptor'

He has established his creative company EE72 and its flagship publication, 72, his premier initiative since moving on from his former post. He states his aim to continue being a "change-maker".

"I’ve always questioned the conventional wisdom. I was born and raised in a place where everybody was black – the physicians, the attorneys, the leader. Then we arrived in England, without funds, and I found myself on the margins. I was painfully reserved. My teachers declared I’d have no future. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a sense of being between worlds."

In contrast to the stereotype of industry figures as brash and temperamental, Enninful is measured in tone and radiates serenity. His life has included its share of hardship, including publicly shared battles with mental health and substance use.

He has also faced significant health issues, having had multiple operations on his eyes, resulting in partial sight. "I endured such a dark place for two years, away from work, anxious I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I vowed, 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 fashion person."

The Tate Britain Exhibition

This refusal to fit into a box has inspired him outside the industry that established him. He is now curating a major 1990s exhibition at Tate Britain, featuring work by a roster of pivotal artists and photographers from the era. The show, he says, aims to capture the decade's interdisciplinary energy – and spotlight those who lacked a spotlight at the time.

"Galleries often failed to promote the truly innovative creators because they did not have the right pedigree," he observes.

This venture itself uses a novel strategy, forgoing traditional advertising in favour of integrated partnerships. "The question is, what can we create collaboratively? Is it an experience, a series? The magazine is one component of a broader vision."

An Unstoppable Drive

Today, Enninful stands as one of the world's most powerful industry leaders. His journey, he believes, is a testament to the power of pursuing your passions.

How would the Enninful of that era make of the his current self? He smiles. "It would be a surprise, but he’d be pleased. At that time I was anti-establishment. I would not have believed institutions like Tate were a place for someone like me."

He reflects. "I never take anything for granted. We fled, we left our homeland. I came close to losing my vision. So there is no room for fear. People have doubted me my whole career. But no obstacle is too great once I’ve set my intention to do something."