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

A chance encounter while riding the tube in 1988 transformed the path of a young Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was quickly drawn into the capital's buzzing 1990s artistic milieu, moving from model to stylist and, before turning twenty, becoming the fashion director of the iconic i-D.

"That era was the height of the YBA movement – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I felt we’d be close. We all hung out across disciplines. Friday became Saturday into Sunday. I long for that energy."

If Enninful sounds wistful, he is not the only one. Lately, a wistful romanticisation of the 1990s has grown intense. Yet over the last thirty years, Enninful feels a profound shift. "In my view, we’re more divided now than we were in the 90s," he says. "It’s not even this country – it’s everywhere."

A Perceived Regression

This shift is hard to ignore: the growth of far-right politics, the backlash against social awareness, and the reinforcement of traditional beauty standards. In place of the optimism of the late 90s, currently a more divisive political personality looms as a possible leader. Even, the Union Jack, once an emblem of Cool Britannia, has become contentious again.

In Enninful's view, the antidote has always been to champion 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 snapshot of modern Britain, featuring a wide range of prominent faces from music.

"People with a voice should use it," he asserts, referring to those editorial decisions. "Everyone talks about immigration; I could not have had this life if Britain was not a open country, if it did not offer my family a refuge and an education. That’s the Britain I believed in. I hope this phase will end."

A New Wave of Consciousness

He takes comfort in the next generation: "They’re much more aware than we were. They talk about unconscious bias – I was not even aware what that was."

His formative years would define a groundbreaking career marked by boldness and representation. Enninful set a precedent as the first man, first black man, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His leadership featured historic front pages showcasing people of diverse backgrounds, plus-sized women, older individuals, and people from all walks of life. Critically, sales grew.

"Ignoring vast segments of the population, it’s more than that you’re not being inclusive – it’s commercially unwise," he explains.

Beyond the Magazine World

He has established his agency EE72 and its flagship publication, 72, his first major project since leaving his former post. He says he wants to continue being a "innovator".

"I’ve always questioned the conventional wisdom. I was born and raised in a place where everybody was black – the physicians, the attorneys, the president. Then we arrived in England, penniless, and I found myself on the margins. I was very shy. My teachers declared I’d never amount to anything. Me and my brothers were stopped by the police the Sus laws … this duality gave me a sense of being between worlds."

Defying the caricature of fashion editors as loud and highly strung, Enninful is measured in tone and projects peace. His journey has not been immune to hardship, including publicly shared periods of depression and addiction.

He has also undergone serious health challenges, having had multiple operations on his eyes, resulting in partial sight. "I endured such a time of fear for two years, not working, fearing I was going to go blind. It’s like PTSD; you just live in fear 24/7. I thought, if this ever ends, I’m just going to pursue all that I was so scared to do. I’m not going to confine myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This determination to fit into a box has inspired him away from the realm that built his career. He is now putting together a significant 1990s exhibition at Tate Britain, bringing together work by a group of influential artists and photographers from the era. The show, he says, aims to capture the decade's creative cross-pollination – and highlight those who weren't given a spotlight at the time.

"The establishment didn't always shine a light on the most relevant talents because they weren't of the right pedigree," he observes.

The magazine 72 itself uses a novel business model, rejecting traditional advertising in favour of creative collaborations. "We ask, what can we achieve in partnership? Is it an event, a series? The magazine is one component of a greater ecosystem."

Looking Forward Without Fear

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

What would the younger Edward make of the his current self? He laughs heartily. "He would be astonished, but he’d be proud. In those days I was sceptical of institutions. I would not have believed institutions like Tate were a place for someone like me."

He adds. "Gratitude is key. We fled, we fled our country. I nearly lost my vision. So fear isn't an option. People have counted me out my entire life. But I am unstoppable once I’ve decided to do something."