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

A serendipitous meeting on the London Underground in 1988 altered the path of a teenage Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the London's vibrant 1990s creative scene, moving from model to stylist and, before turning twenty, becoming the style editor of i-D magazine.

"That time was the peak of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I understood we’d be close. We all socialised across disciplines. Friday bled into Saturday into Sunday. I miss that rawness."

If Enninful sounds wistful, he is far from alone. Lately, a wistful romanticisation of the 1990s has become pervasive. However since that time, Enninful perceives a profound shift. "I feel, we’re less accepting now than we were in the 90s," he observes. "The issue extends beyond this country – it’s worldwide."

A Perceived Regression

This change is difficult to overlook: the growth of nationalist groups, the backlash against progressive values, and the reinforcement of traditional beauty standards. Where once there was the optimism of the previous decade, today a more divisive political personality appears as a possible leader. Furthermore, the British flag, once an emblem of national pride, has returned as a polarising symbol.

According to Enninful, the solution has always been to champion 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 celebration of modern Britain, including a diverse array of influential figures from literature.

"Those in a position of influence should wield it," he says, discussing those editorial decisions. "Everyone talks about immigration; I could not have had this life if Britain hadn't been a welcoming country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I always loved. I trust this moment will fade."

A New Wave of Consciousness

He takes comfort in the next generation: "They are far more conscious than we were. They discuss unconscious bias – I had no concept what that was."

Those early experiences would define a groundbreaking career marked by fearlessness and diversity. Enninful set a precedent as the first male, first Black editor, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His leadership featured historic front pages showcasing people of diverse backgrounds, plus-sized women, older individuals, and individuals from all walks of life. Significantly, sales rose.

"When you ignore huge sections of the population, it’s not just that you’re excluding people – it’s a poor strategy," he states.

Beyond the Magazine World

He has since founded his new venture EE72 and its accompanying magazine, 72, his first major project since leaving his previous role. He says he wants to continue being a "disruptor".

"I’ve always questioned the established norms. I was born and raised in a place where Black professionals were the norm – the doctors, the lawyers, the president. Then we came to England, with nothing, and I became the 'other'. I was painfully reserved. My teachers declared I’d never amount to anything. Me and my brothers were subject to police stops the suspicion laws … those experiences gave me a sense of being on the inside and the outside."

In contrast to the stereotype of fashion editors as loud and highly strung, Enninful is measured in tone and exudes calm. His journey has included its share of hardship, including publicly shared struggles with depression and addiction.

He has also endured significant health issues, having undergone several surgeries on his eyes, now leaving him with limited vision. "I endured such a difficult period for two years, away from work, terrified I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever passes, I’m just going to do everything 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 defined narrowly has inspired him away from the realm that built his career. He is now organising a major 1990s exhibition at Tate Britain, featuring work by a group of defining artists and photographers from the era. The show, he notes, aims to evoke the decade's artistic collaboration – and give platform to those who lacked due recognition at the time.

"The establishment didn't always celebrate the truly innovative creators because they lacked the right pedigree," he observes.

The magazine 72 itself functions with a different strategy, forgoing traditional advertising in favour of integrated partnerships. "Our approach is, what can we create collaboratively? Is it an experience, a podcast? The magazine is a piece within a greater ecosystem."

Looking Forward Without Fear

Today, Enninful stands as one of the world's most influential industry leaders. His path, he states, is a proof to the power of pursuing your passions.

How would the Enninful of that era react to the man he has become? He laughs heartily. "He would be astonished, but he’d be proud. Back then I was anti-establishment. I would not have believed institutions like Tate were a place for someone like me."

He adds. "I never take anything for granted. We fled, we left our homeland. I nearly lost my vision. So fear is not a factor. People have counted me out my entire life. But nothing can stop me once I’ve decided to do something."