Edward Enninful reflects on Modern Britain: 'We Are Less Tolerant Now' Compared to the Nineties.

A chance encounter while riding the tube in 1988 transformed the course of a young Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the city's vibrant 1990s artistic milieu, moving from model to stylist and, while still a teenager, becoming the style editor of the iconic i-D.

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

If Enninful sounds wistful, he is not the only one. In recent times, a longing look back of the 1990s has grown intense. However in the intervening decades, Enninful feels a profound shift. "In my view, we’re less tolerant now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s everywhere."

A Cultural Backslide

This regression is increasingly evident: the resurgence of far-right politics, the reaction against social awareness, and the reassertion of traditional beauty standards. In place of the optimism of the Blair era, currently a different political personality looms as a possible leader. Even, the British flag, once an badge of Cool Britannia, has returned as a polarising symbol.

According to Enninful, the antidote has consistently 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 celebration of modern Britain, showcasing a wide range of influential figures from politics.

"Individuals with a platform should use it," he asserts, discussing those publishing choices. "There is much discussion about immigration; I could not have had this life if Britain were not a lenient country, if it did not offer my family a home and an opportunity. That’s the Britain I cherished. I believe this moment will pass."

Hope in the Next Generation

He finds hope in the younger generation: "They are far more conscious than we were. They discuss implicit prejudice – I had no concept what that was."

The beginnings of his career would shape a trailblazing career marked by fearlessness and inclusivity. Enninful set a precedent as the first man, first Black editor, first gay man, and first disabled Black gay man to lead at British Vogue. His tenure featured historic front pages showcasing models of colour, curvy models, older individuals, and individuals from all walks of life. Importantly, sales increased.

"When you ignore large portions of the population, it’s more than that you’re not being inclusive – it’s bad for business," he emphasises.

Beyond the Magazine World

He has established his new venture EE72 and its flagship publication, 72, his key endeavour since moving on from his previous role. He says he wants to continue being a "disruptor".

"My nature is to challenge the status quo. I was raised in a place where Black professionals were the norm – the physicians, the attorneys, the leader. Then we arrived in England, with nothing, 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 … this duality gave me a dual identity between worlds."

Defying the caricature of industry figures as brash and temperamental, Enninful is measured in tone and exudes calm. His path has not been immune to hardship, including publicly shared struggles with depression and substance use.

He has also faced significant health challenges, having had multiple operations on his eyes, resulting in partial sight. "I was in such a difficult period for two years, not working, anxious I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever ends, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to limit myself to just being an editor or a fashion person."

A Foray into Curation

This refusal to be typecast has led him outside the industry that built his career. He is now putting together a seminal 1990s exhibition at Tate Britain, bringing together work by a group of pivotal artists and photographers from the era. The show, he notes, aims to evoke the decade's artistic collaboration – and spotlight those who did not receive due recognition at the time.

"Institutions sometimes neglected to celebrate the most relevant talents because they lacked the expected background," he states.

This venture itself functions with a novel strategy, rejecting traditional advertising in favour of creative collaborations. "We ask, what can we achieve in partnership? Is it an event, a podcast? The magazine is one component of a larger creative platform."

An Unstoppable Drive

Currently, Enninful stands as one of the world's most powerful creative power brokers. His story, he states, is a demonstration to the power of following your instincts.

What would the Edward of the 90s make of the man he has become? He chuckles. "He’d be in shock, but he’d be pleased. In those days I was sceptical of institutions. I never imagined institutions like Tate were necessarily for me."

He reflects. "Gratitude is key. We were displaced, we fled our country. I nearly lost my vision. So fear is not a factor. People have underestimated me my entire life. But I am unstoppable once I’ve decided to do something."