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

A chance encounter on the London Underground in 1988 transformed the course of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the capital's electric 1990s cultural landscape, evolving from model to stylist and, while still a teenager, becoming the style editor of i-D magazine.

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

If Enninful sounds wistful, he is not the only one. Lately, a longing look back of the 1990s has grown intense. But since that time, Enninful believes a profound shift. "In my view, we’re less accepting now than we were in the 90s," he says. "The issue extends beyond this country – it’s a global phenomenon."

Shifting Attitudes

This shift is difficult to overlook: the growth of populist movements, the backlash against so-called "wokeness", and the reassertion of traditional beauty standards. Replacing the optimism of the previous decade, today a more divisive political force stands as a potential leader. Furthermore, the Union Jack, once an emblem of national pride, has sparked debate once more.

For Enninful, the response has long been to promote culture in all its diversity. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a diverse array of influential figures from literature.

"Individuals with a platform should employ it," he says, referring to those editorial decisions. "People often debate about immigration; I could not have had this life if Britain was not a welcoming country, if it hadn't given my family a refuge and an education. That’s the Britain I believed in. I believe this phase will fade."

Hope in the Next Generation

He finds hope in the next generation: "Their awareness is greater than we were. They analyse unconscious bias – I had no concept what that was."

Those early experiences would define a groundbreaking career marked by fearlessness and inclusivity. Enninful set a precedent as the first male, first black man, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His tenure featured historic front pages showcasing people of diverse backgrounds, curvy models, older individuals, and people from varied communities. Critically, sales grew.

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

Beyond the Magazine World

He has recently launched his creative company EE72 and its accompanying magazine, 72, his premier initiative since moving on from his previous role. He says he wants to continue being a "change-maker".

"My nature is to challenge the status quo. I was brought up in a place where the majority was Black – the doctors, the lawyers, the leader. Then we came to England, penniless, and I was a minority. I was painfully reserved. My teachers declared I’d never amount to anything. Me and my brothers were stopped by the police the suspicion laws … all that gave me a sense of being both an insider and outsider."

In contrast to the stereotype of fashion editors as loud and temperamental, Enninful is softly spoken and projects peace. His journey has not been immune to hardship, including openly discussed struggles with depression and addiction.

He has also undergone serious health challenges, having undergone several surgeries on his eyes, leading to partial sight. "I endured such a difficult period for two years, away from work, fearing I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I vowed, if this ever passes, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to confine myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This determination to be typecast has propelled him away from the world that built his career. He is now curating a seminal 1990s exhibition at Tate Britain, showcasing work by a group of defining artists and photographers from the era. The show, he explains, aims to capture the decade's interdisciplinary energy – and highlight those who lacked a spotlight at the time.

"The establishment often failed to celebrate the right artists because they weren't of the expected background," he comments.

The magazine 72 itself functions with a novel approach, rejecting traditional advertising in favour of creative collaborations. "The question is, what can we do together? Is it an event, a series? The magazine is a piece within a greater ecosystem."

A Testament to Resilience

Today, Enninful operates as one of the world's most influential industry leaders. His journey, he feels, is a proof to the power of defying expectations.

What would the Edward of the 90s think of the man he has become? He laughs heartily. "He’d be in shock, but he’d be pleased. Back then I was anti-establishment. I didn't think institutions like Tate were within my reach."

He reflects. "Gratitude is key. We were displaced, we left our homeland. I almost lost my vision. So there is no room for fear. People have underestimated me my whole career. But nothing can stop me once I’ve decided to do something."