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

A serendipitous meeting during a tube journey in 1988 altered the trajectory of a young Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was quickly drawn into the London's vibrant 1990s cultural landscape, evolving from mannequin to stylist and, before turning twenty, becoming the style editor of i-D magazine.

"That time was the height of the Young British Artists – Tracey Emin, Jay Jopling. 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 hung out across disciplines. Friday rolled into Saturday into Sunday. I yearn for that rawness."

If Enninful sounds sentimental, he is far from alone. Recently, a fond idealisation of the 1990s has become pervasive. Yet in the intervening decades, Enninful perceives a noticeable regression. "I feel, we’re less accepting now than we were in the 90s," he remarks. "This isn't just this country – it’s a global phenomenon."

A Cultural Backslide

This shift is increasingly evident: the resurgence of populist movements, the backlash against progressive values, and the reinforcement of Eurocentric beauty standards. In place of the hope of the late 90s, today a more divisive political figure looms as a possible leader. Furthermore, the Union Jack, once an badge of national pride, has sparked debate once more.

In Enninful's view, the antidote has long been to promote 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 celebration of modern Britain, showcasing a broad spectrum of influential figures from politics.

"Those in a position of influence should use it," he asserts, explaining those publishing choices. "Everyone talks about immigration; I wouldn't be here 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 period will end."

The Younger Generation's Awareness

He finds hope in the younger generation: "They are far more conscious than we were. They talk about implicit prejudice – I was not even aware what that was."

The beginnings of his career would shape a pioneering career built on fearlessness and inclusivity. Enninful broke barriers as the first man, first black man, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His leadership featured landmark covers showcasing people of diverse backgrounds, curvy models, an octogenarian, and people from all walks of life. Critically, sales rose.

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

Beyond the Magazine World

He has established his new venture EE72 and its accompanying magazine, 72, his key endeavour since departing his former post. He says he wants to continue being a "innovator".

"I constantly interrogate the established norms. I was born and raised in a place where Black professionals were the norm – the physicians, the lawyers, the leader. Then we came to England, without funds, and I found myself on the margins. I was painfully reserved. My teachers said I’d never amount to anything. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a dual identity both an insider and outsider."

In contrast to the popular image of industry figures as brash and temperamental, Enninful is calm and projects peace. His life has involved adversity, including openly discussed struggles with depression and addiction.

He has also faced serious health issues, having had multiple operations on his eyes, now leaving him with partial sight. "I was in such a difficult period for two years, away from work, terrified I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I prayed, if this ever ends, 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 figure in fashion."

The Tate Britain Exhibition

This refusal to be defined narrowly has led him outside the realm that built his career. He is now organising a major 1990s exhibition at Tate Britain, showcasing work by a roster of pivotal artists and photographers from the era. The show, he notes, aims to evoke the decade's interdisciplinary energy – and give platform to those who did not receive adequate attention at the time.

"The establishment didn't always celebrate the most relevant talents because they did not have the right pedigree," he states.

This project itself uses a novel approach, eschewing traditional advertising in favour of creative collaborations. "We ask, what can we create collaboratively? Is it an experience, a series? The magazine is part of a greater ecosystem."

A Testament to Resilience

Now, Enninful operates as one of the world's most respected cultural influencers. His path, he feels, is a demonstration to the power of pursuing your passions.

How would the Enninful of that era think of the Edward of today? He smiles. "He’d be in shock, but he’d be proud. Back then I was sceptical of institutions. I would not have believed institutions like Tate were within my reach."

He reflects. "Nothing is assumed. We fled, we left our homeland. I almost lost my vision. So there is no room for fear. People have doubted me my entire life. But no obstacle is too great once I’ve decided to do something."