Edward Enninful reflects on Modern Britain: 'A Decline in Tolerance' Than We Were Decades Ago.

An unexpected discovery on the London Underground in 1988 changed forever the trajectory of a young Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the capital's buzzing 1990s creative scene, progressing from mannequin to stylist and, while still a teenager, becoming the style editor of the publication i-D.

"That era was the peak of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I felt we’d be kindred spirits. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I long for that rawness."

If Enninful sounds sentimental, he is in good company. In recent times, a longing look back of the 1990s has become pervasive. Yet over the last thirty years, Enninful believes a profound shift. "In my view, we’re less tolerant now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s everywhere."

A Perceived Regression

This change is difficult to overlook: the rise of far-right politics, the pushback against so-called "wokeness", and the return of traditional beauty standards. Replacing the optimism of the previous decade, now a different political personality stands as a possible leader. Furthermore, the Union Jack, once an symbol of cultural optimism, has sparked debate once more.

According to Enninful, the solution has always been to celebrate culture in all its multifaceted forms. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a broad spectrum of influential figures from art.

"Individuals with a platform should employ it," he asserts, referring to those publishing choices. "Everyone talks about immigration; I could not have had this life if Britain were not a welcoming country, if it hadn't given my family a home and an opportunity. That’s the Britain I cherished. I believe this period will fade."

Hope in the Next Generation

He draws solace in the next generation: "Their awareness is greater than we were. They analyse systemic issues – I was not even aware what that was."

Those early experiences would shape a trailblazing career characterised by fearlessness and representation. 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 tenure featured diverse covers showcasing models of colour, plus-sized women, an octogenarian, and people from all walks of life. Significantly, sales increased.

"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 established his creative company EE72 and its flagship publication, 72, his premier initiative since departing his previous role. He says he wants to continue being a "disruptor".

"I constantly interrogate the status quo. I was born and raised in a place where everybody was black – the physicians, the lawyers, the president. Then we came to England, with nothing, and I became the 'other'. I was painfully reserved. My teachers said I’d never amount to anything. Me and my brothers were harassed under the suspicion laws … this duality gave me a sense of being between worlds."

In contrast to the popular image of industry figures as loud and highly strung, Enninful is calm and exudes calm. His journey has not been immune to hardship, including publicly shared struggles with mental health and substance use.

He has also faced serious health challenges, having undergone several surgeries on his eyes, leading to limited vision. "I endured such a difficult period for two years, not working, 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 passes, I’m just going to do everything that I was so scared to do. I’m not going to confine myself to just being an editor or a fashion person."

Curating a Cultural Era

This drive to fit into a box has inspired him beyond the industry that built his career. He is now curating a major 1990s exhibition at Tate Britain, bringing together work by a roster 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 did not receive adequate attention at the time.

"Institutions sometimes neglected to shine a light on the most relevant talents because they did not have the right pedigree," he observes.

The magazine 72 itself uses a novel strategy, eschewing traditional advertising in favour of integrated partnerships. "Our approach is, what can we create collaboratively? Is it an event, a series? The magazine is part of a broader vision."

An Unstoppable Drive

Currently, Enninful stands as one of the world's most influential creative power brokers. His story, he states, is a testament to the power of pursuing your passions.

What would the Edward of the 90s react to the man he has become? He laughs heartily. "It would be a surprise, but he’d be pleased. In those days I was anti-establishment. I didn't think institutions like Tate were within my reach."

He adds. "Nothing is assumed. We were displaced, we fled our country. I came close to losing my vision. So fear isn't an option. People have underestimated me my entire life. But nothing can stop me once I’ve made up my mind to do something."