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

An unexpected discovery while riding the tube in 1988 changed forever the trajectory of a teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the city's buzzing 1990s artistic milieu, progressing from model to stylist and, by the age of 18, becoming the fashion director of the iconic i-D.

"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 knew we’d be great friends. We all mixed across disciplines. Friday bled into Saturday into Sunday. I miss that spontaneity."

While Enninful may seem sentimental, he is in good company. In recent times, a wistful romanticisation of the 1990s has reached fever pitch. But in the intervening decades, Enninful feels a profound shift. "I believe, we’re more divided now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s everywhere."

Shifting Attitudes

This shift is hard to ignore: the rise of far-right politics, the reaction against social awareness, and the reassertion of traditional beauty standards. Replacing the optimism of the late 90s, today a different political force appears as a potential leader. Even, the British flag, once an symbol of national pride, has become contentious again.

For Enninful, the solution has consistently been to champion culture in all its variety. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a wide range of cultural icons from literature.

"Those in a position of influence should wield it," he says, explaining those editorial decisions. "People often debate about immigration; I would not be in this position if Britain was not a welcoming country, if it hadn't given my family a home and an education. That’s the Britain I always loved. I trust this moment will pass."

The Younger Generation's Awareness

He draws solace in the youth of today: "They are far more conscious than we were. They talk about systemic issues – I was not even aware what that was."

Those early experiences would define a pioneering career built on boldness and diversity. Enninful made history as the first man, first black man, first gay man, and first disabled Black gay man to lead at British Vogue. His leadership featured landmark covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and people from varied communities. Critically, sales rose.

"To overlook huge sections of the population, it’s more than that you’re not being inclusive – it’s a poor strategy," he emphasises.

Launching a Creative Venture

He has established his agency EE72 and its flagship publication, 72, his key endeavour since leaving his former post. He expresses a desire to continue being a "disruptor".

"I’ve always questioned the established norms. I was born and raised in a place where the majority was Black – the doctors, the attorneys, the leader. Then we came to England, penniless, and I became the 'other'. I was very shy. My teachers declared I’d never amount to anything. Me and my brothers were subject to police stops the Sus laws … those experiences gave me a dual identity both an insider and outsider."

Defying the popular image of fashion editors as brash and temperamental, Enninful is measured in tone and exudes calm. His path has involved hardship, including openly discussed battles with mental health and substance use.

He has also faced significant health challenges, having undergone several surgeries on his eyes, resulting in limited vision. "I endured such a dark place for two years, not working, anxious I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever is over, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to limit myself to just being an editor or a figure in fashion."

A Foray into Curation

This drive to be typecast has led him away from the industry that made his name. He is now organising a major 1990s exhibition at Tate Britain, bringing together work by a roster of influential artists and photographers from the era. The show, he says, aims to evoke the decade's creative cross-pollination – and highlight those who lacked adequate attention at the time.

"Institutions sometimes neglected to shine a light on the truly innovative creators because they lacked the traditional credentials," he observes.

This project itself functions with a unique business model, eschewing traditional advertising in favour of partnership-based projects. "We ask, what can we create collaboratively? Is it an experience, a series? The magazine is part of a broader vision."

An Unstoppable Drive

Currently, Enninful stands as one of the world's most respected creative power brokers. His journey, he believes, is a testament to the power of following your instincts.

How would the Edward of the 90s react to the man he has become? He laughs heartily. "He’d be in shock, but he’d be impressed. At that time I was sceptical of institutions. I didn't think institutions like Tate were necessarily for me."

He reflects. "Gratitude is key. We lost our home, we fled our country. I came close to losing my vision. So fear isn't an option. People have doubted me my whole career. But no obstacle is too great once I’ve decided to do something."