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

A serendipitous meeting on the London Underground in 1988 altered the course of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the London's buzzing 1990s creative scene, moving from mannequin to stylist and, while still a teenager, becoming the fashion director of the publication i-D.

"That era was the zenith of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I knew we’d be great friends. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I miss that spontaneity."

If Enninful sounds wistful, he is not the only one. In recent times, a wistful romanticisation of the 1990s has grown intense. Yet over the last thirty years, Enninful perceives a noticeable regression. "In my view, we’re less tolerant now than we were in the 90s," he says. "This isn't just this country – it’s worldwide."

A Cultural Backslide

This change is increasingly evident: the growth of nationalist groups, the backlash against social awareness, and the return of Eurocentric beauty standards. Replacing the optimism of the late 90s, now a more divisive political personality appears as a possible leader. Furthermore, the Union Jack, once an badge of national pride, has sparked debate once more.

According to Enninful, the antidote has always been to champion culture in all its multifaceted forms. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a broad spectrum of prominent faces from music.

"People with a voice should wield it," he asserts, explaining those publishing choices. "There is much discussion about immigration; I could not have had this life if Britain were not a welcoming country, if it refused my family a refuge and an education. That’s the Britain I always loved. I believe this moment will end."

The Younger Generation's Awareness

He takes comfort in the next generation: "They are far more conscious than we were. They talk about systemic issues – I was not even aware what that was."

Those early experiences would define a pioneering career built on boldness and diversity. Enninful made history as the first male, first Black editor, first gay man, and first disabled gay man of colour to lead at British Vogue. His leadership featured diverse covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and individuals from varied communities. Critically, sales grew.

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

Beyond the Magazine World

He has established his new venture EE72 and its flagship publication, 72, his premier initiative since departing his previous role. He expresses a desire to continue being a "change-maker".

"I constantly interrogate the status quo. I was born and raised in a place where everybody was black – the doctors, the attorneys, the president. Then we arrived in England, with nothing, and I was a minority. I was very shy. My teachers declared I’d never amount to anything. Me and my brothers were subject to police stops the suspicion laws … those experiences gave me a unique perspective on the inside and the outside."

Contrary to the stereotype of industry figures as brash and highly strung, Enninful is softly spoken and projects peace. His path has included its share of challenges, including well-documented struggles with depression and addiction.

He has also undergone significant health challenges, having had multiple operations on his eyes, resulting in limited vision. "I experienced such a time of fear for two years, not working, terrified I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever is over, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to confine myself to just being an editor or a fashion person."

A Foray into Curation

This drive to fit into a box has propelled him outside the world that established him. He is now organising a major 1990s exhibition at Tate Britain, featuring work by a roster of pivotal artists and photographers from the era. The show, he says, aims to explore the decade's artistic collaboration – and spotlight those who lacked a spotlight at the time.

"Galleries sometimes neglected to promote the truly innovative creators because they did not have the right pedigree," he observes.

This venture itself functions with a unique business model, eschewing traditional advertising in favour of creative collaborations. "We ask, what can we do together? Is it an event, a series? The magazine is part of a larger creative platform."

Looking Forward Without Fear

Today, Enninful is regarded as one of the world's most respected creative power brokers. His journey, he believes, is a proof to the power of following your instincts.

What would the younger Edward react to the his current self? He chuckles. "He’d be in shock, but he’d be impressed. At that time I was anti-establishment. I never imagined institutions like Tate were within my reach."

He pauses. "Gratitude is key. We were displaced, we fled our country. I nearly lost my vision. So fear isn't an option. People have counted me out my whole career. But I am unstoppable once I’ve made up my mind to do something."