Edward Enninful on Modern Britain: 'Britain Feels Less Tolerant Now' Than in the 90s.

An unexpected discovery on the London Underground in 1988 transformed the path of a teenage Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the London's electric 1990s cultural landscape, moving from mannequin to stylist and, before turning twenty, becoming the fashion director of i-D magazine.

"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 understood we’d be great friends. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I yearn for that rawness."

While Enninful may seem nostalgic, he is not the only one. Recently, a fond idealisation of the 1990s has grown intense. Yet since that time, Enninful feels a profound shift. "I feel, we’re less tolerant now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s a global phenomenon."

A Cultural Backslide

This shift is increasingly evident: the rise of nationalist groups, the pushback against social awareness, and the reassertion of narrow beauty standards. Replacing the optimism of the previous decade, today a more divisive political personality appears as a possible leader. Even, the Union Jack, once an symbol of Cool Britannia, has become contentious again.

In Enninful's view, the solution has always been to promote culture in all its diversity. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a wide range of influential figures from literature.

"Those in a position of influence should use it," he says, explaining those publishing choices. "Everyone talks about immigration; I would not be in this position if Britain were not a welcoming country, if it refused my family a home and an education. That’s the Britain I always loved. I believe this period will end."

Hope in the Next Generation

He finds hope in the younger generation: "They’re much more aware than we were. They discuss implicit prejudice – I didn't even know what that was."

His formative years would shape a pioneering career characterised by fearlessness and representation. Enninful set a precedent as the first male, first Black editor, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His time featured historic front pages showcasing people of diverse backgrounds, curvy models, an octogenarian, and individuals from all walks of life. Significantly, sales grew.

"When you ignore large portions of the population, it’s more than that you’re excluding people – it’s a poor strategy," he emphasises.

A New Chapter as a 'Disruptor'

He has since founded his new venture EE72 and its flagship publication, 72, his premier initiative since departing his former post. He expresses a desire to continue being a "innovator".

"My nature is to challenge the conventional wisdom. I was born and raised in a place where everybody was black – the physicians, the attorneys, the leader. Then we came to England, penniless, and I became the 'other'. I was very shy. My teachers declared 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 between worlds."

In contrast to the caricature of fashion editors as brash and temperamental, Enninful is softly spoken and exudes calm. His life has included its share of challenges, including publicly shared battles with mental health and substance use.

He has also undergone serious health challenges, having undergone several surgeries on his eyes, now leaving him with partial sight. "I endured such a time of fear for two years, not working, fearing I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I thought, if this ever ends, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to restrict myself to just being an editor or a fashion person."

Curating a Cultural Era

This refusal to fit into a box has propelled him beyond the realm that established him. He is now organising a major 1990s exhibition at Tate Britain, bringing together work by a roster of pivotal artists and photographers from the era. The show, he says, aims to evoke the decade's interdisciplinary energy – and spotlight those who did not receive a spotlight at the time.

"Institutions sometimes neglected to shine a light on the most relevant talents because they did not have the right pedigree," he observes.

This venture itself uses a unique business model, rejecting traditional advertising in favour of partnership-based projects. "Our approach is, what can we do together? Is it an event, a series? The magazine is part of a broader vision."

An Unstoppable Drive

Today, Enninful stands as one of the world's most influential industry leaders. His path, he feels, is a testament to the power of following your instincts.

How would the younger Edward make of the man he has become? He laughs heartily. "It would be a surprise, but he’d be pleased. In those days I was sceptical of institutions. I would not have believed institutions like Tate were necessarily for me."

He adds. "I never take anything for granted. We fled, we left our homeland. I came close to losing my vision. So there is no room for fear. People have underestimated me my entire life. But no obstacle is too great once I’ve made up my mind to do something."