Edward Enninful on Modern Britain: 'Britain Feels Less Tolerant Now' Than We Were Decades Ago.

An unexpected discovery on the London Underground in 1988 changed forever the trajectory of a teenage Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the city's electric 1990s creative scene, moving from model to stylist and, before turning twenty, becoming the style editor of the publication i-D.

"That time was the height of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I felt we’d be close. We all hung out across disciplines. Friday bled into Saturday into Sunday. I long for that energy."

Although Enninful appears nostalgic, he is in good company. Recently, a fond idealisation of the 1990s has grown intense. But since that time, Enninful believes a significant change. "I feel, we’re less accepting now than we were in the 90s," he says. "It’s not even this country – it’s worldwide."

Shifting Attitudes

This shift is increasingly evident: the rise of nationalist groups, the pushback against so-called "wokeness", and the reassertion of traditional beauty standards. Replacing the hope of the previous decade, today a more divisive political personality looms as a potential leader. Even, the Union Jack, once an symbol of national pride, has returned as a polarising symbol.

For Enninful, the response has always been to promote culture in all its multifaceted forms. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a diverse array of cultural icons from music.

"Individuals with a platform should wield it," he says, discussing those editorial decisions. "People often debate about immigration; I wouldn't be here if Britain was not a open country, if it refused 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 draws solace in the next generation: "Their awareness is greater than we were. They analyse systemic issues – I was not even aware what that was."

Those early experiences would shape a groundbreaking career built on fearlessness and representation. Enninful broke barriers as the first male, first Black editor, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His leadership featured historic front pages showcasing people of diverse backgrounds, plus-sized women, older individuals, and people from varied communities. Critically, sales grew.

"To overlook huge sections of the population, it’s more than that you’re not being inclusive – it’s commercially unwise," he states.

A New Chapter as a 'Disruptor'

He has since founded his creative company EE72 and its flagship publication, 72, his first major project since departing his previous role. He states his aim to continue being a "disruptor".

"I’ve always questioned the conventional wisdom. I was raised in a place where everybody was black – the physicians, the attorneys, the leader. Then we arrived in England, without funds, and I was a minority. I was very shy. My teachers declared I’d never amount to anything. Me and my brothers were stopped by the police the Sus laws … all that gave me a unique perspective both an insider and outsider."

Contrary to the caricature of industry figures as brash and highly strung, Enninful is calm and exudes calm. His path has included its share of hardship, including well-documented struggles with depression and substance use.

He has also faced serious health challenges, having had multiple operations on his eyes, leading to limited vision. "I endured such a difficult period for two years, not working, fearing I was going to lose my sight. It’s like 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 fearful to do. I’m not going to confine myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This drive to be typecast has led him outside the world that built his career. He is now curating a major 1990s exhibition at Tate Britain, showcasing work by a roster of pivotal artists and photographers from the era. The show, he says, aims to capture the decade's interdisciplinary energy – and give platform to those who did not receive adequate attention at the time.

"Institutions sometimes neglected to celebrate the truly innovative creators because they did not have the traditional credentials," he comments.

This project itself operates on a unique strategy, eschewing traditional advertising in favour of partnership-based projects. "The question is, what can we achieve in partnership? Is it an event, a podcast? The magazine is a piece within a broader vision."

A Testament to Resilience

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

What would the Edward of the 90s react to the man he has become? He laughs heartily. "It would be a surprise, but he’d be proud. At that time I was sceptical of institutions. I didn't think institutions like Tate were necessarily for me."

He reflects. "Gratitude is key. We lost our home, we left our homeland. I nearly lost my vision. So fear is not a factor. People have doubted me my whole career. But I am unstoppable once I’ve decided to do something."