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

An unexpected discovery on the London Underground in 1988 transformed the trajectory of a young Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the city's buzzing 1990s creative scene, evolving from model to stylist and, by the age of 18, becoming the fashion director of the publication i-D.

"That time was the height 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 felt we’d be close. We all mixed across disciplines. Friday bled into Saturday into Sunday. I yearn for that rawness."

While Enninful may seem sentimental, he is in good company. Lately, a wistful romanticisation of the 1990s has grown intense. However over the last thirty years, Enninful feels a profound shift. "I feel, we’re less tolerant now than we were in the 90s," he remarks. "This isn't just this country – it’s worldwide."

A Cultural Backslide

This shift is difficult to overlook: the growth of nationalist groups, the pushback against so-called "wokeness", and the return of Eurocentric beauty standards. Where once there was the optimism of the previous decade, currently a different political force looms as a potential leader. Furthermore, the British flag, once an badge of cultural optimism, has sparked debate once more.

In Enninful's view, the antidote has always been to celebrate culture in all its multifaceted forms. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a wide range of influential figures from politics.

"Those in a position of influence should use it," he comments, referring to those editorial decisions. "People often debate about immigration; I would not be in this position if Britain hadn't been a lenient country, if it refused my family a home and an education. That’s the Britain I always loved. I believe this phase will end."

Hope in the Next Generation

He finds hope in the youth of today: "They’re much more aware than we were. They discuss systemic issues – I didn't even know what that was."

Those early experiences would shape a pioneering career built on boldness and representation. Enninful broke barriers as the first man, first Black editor, first openly gay person, and first disabled Black gay man to take the helm at British Vogue. His tenure featured landmark covers showcasing people of diverse backgrounds, curvy models, older individuals, and people from all walks of life. Critically, sales increased.

"To overlook large portions of the population, it’s not just that you’re failing to represent – it’s bad for business," he explains.

Launching a Creative Venture

He has since founded 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’ve always questioned the status quo. I was born and raised in a place where everybody was black – the doctors, the lawyers, the president. Then we came to England, without funds, and I found myself on the margins. I was very shy. My teachers declared I’d achieve nothing. Me and my brothers were stopped by the police the suspicion laws … those experiences gave me a unique perspective on the inside and the outside."

Contrary to the popular image of fashion editors as brash and temperamental, Enninful is softly spoken and radiates serenity. His life has involved adversity, including openly discussed periods of depression and substance use.

He has also faced significant health issues, having undergone several surgeries on his eyes, leading to impaired eyesight. "I was in such a dark place for two years, not working, anxious I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I vowed, if this ever ends, 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 figure in fashion."

A Foray into Curation

This refusal to fit into a box has propelled him outside the industry that made his name. He is now organising a major 1990s exhibition at Tate Britain, featuring work by a group of defining artists and photographers from the era. The show, he notes, aims to evoke the decade's interdisciplinary energy – and spotlight those who weren't given due recognition at the time.

"Institutions often failed to shine a light on the truly innovative creators because they lacked the expected background," he observes.

This venture itself uses a different approach, forgoing traditional advertising in favour of creative collaborations. "Our approach is, what can we do together? Is it an experience, a podcast? The magazine is part of a greater ecosystem."

Looking Forward Without Fear

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

How would the Enninful of that era react to the Edward of today? He chuckles. "He would be astonished, but he’d be proud. In those days I was anti-establishment. I would not have believed institutions like Tate were a place for someone like me."

He reflects. "I never take anything for granted. We fled, we fled our country. I came close to losing my vision. So fear is not a factor. People have underestimated me my whole career. But I am unstoppable once I’ve decided to do something."