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

A serendipitous meeting on the London Underground in 1988 altered the trajectory of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the capital's buzzing 1990s cultural landscape, progressing from model to stylist and, before turning twenty, becoming the style editor of i-D magazine.

"That time was the zenith of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I knew we’d be kindred spirits. We all socialised across disciplines. Friday became Saturday into Sunday. I yearn for that rawness."

Although Enninful appears wistful, he is far from alone. Recently, a fond idealisation of the 1990s has become pervasive. However over the last thirty years, Enninful feels a significant change. "I believe, we’re less tolerant now than we were in the 90s," he says. "The issue extends beyond this country – it’s everywhere."

A Cultural Backslide

This shift is hard to ignore: the rise of nationalist groups, the backlash against social awareness, and the reassertion of narrow beauty standards. In place of the hope of the previous decade, today a more divisive political figure stands as a potential leader. Even, the British flag, once an badge of cultural optimism, has become contentious again.

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

"Those in a position of influence should employ it," he comments, referring to those publishing choices. "There is much discussion about immigration; I would not be in this position if Britain hadn't been a open country, if it hadn't given my family a home and an education. That’s the Britain I believed in. I trust this period will fade."

Hope in the Next Generation

He finds hope in the younger generation: "They’re much more aware than we were. They analyse unconscious bias – I had no concept what that was."

Those early experiences would define a groundbreaking career marked by fearlessness and diversity. Enninful broke barriers as the first man, first Black editor, first gay man, and first disabled Black gay man to take the helm at British Vogue. His time featured diverse covers showcasing models of colour, curvy models, an octogenarian, and individuals from all walks of life. Critically, sales grew.

"To overlook vast segments of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he states.

Beyond the Magazine World

He has established his creative company EE72 and its flagship publication, 72, his first major project since moving on from his previous role. He says he wants to continue being a "change-maker".

"I’ve always questioned the conventional wisdom. I was brought up in a place where the majority was Black – the doctors, the lawyers, the president. Then we arrived in England, with nothing, and I was a minority. I was incredibly timid. My teachers declared I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … all that gave me a unique perspective between worlds."

Contrary to the caricature of industry figures as brash and temperamental, Enninful is softly spoken and radiates serenity. His life has involved challenges, including openly discussed periods of mental health and substance use.

He has also faced significant health issues, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I experienced such a time of fear for two years, away from work, terrified I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever is over, I’m just going to pursue all that I was so scared to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This determination to be defined narrowly has inspired him outside the world that established him. He is now putting together a seminal 1990s exhibition at Tate Britain, bringing together work by a roster of defining artists and photographers from the era. The show, he explains, aims to evoke the decade's artistic collaboration – and give platform to those who did not receive a spotlight at the time.

"Galleries sometimes neglected to shine a light on the right artists because they did not have the expected background," he states.

The magazine 72 itself operates on a novel business model, rejecting traditional advertising in favour of integrated partnerships. "We ask, what can we create collaboratively? Is it an experience, a series? The magazine is one component of a broader vision."

Looking Forward Without Fear

Now, Enninful is regarded as one of the world's most respected creative power brokers. His path, he feels, is a demonstration to the power of pursuing your passions.

What would the Enninful of that era make of the man he has become? He laughs heartily. "He would be astonished, but he’d be proud. Back then I was a rebel. I didn't think institutions like Tate were necessarily for me."

He pauses. "I never take anything for granted. We fled, we left our homeland. I came close to losing my vision. So fear isn't an option. People have counted me out my whole career. But no obstacle is too great once I’ve set my intention to do something."