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

An unexpected discovery on the London Underground in 1988 altered the trajectory of a teenage Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the city's vibrant 1990s cultural landscape, progressing from model to stylist and, before turning twenty, becoming the fashion director of the publication i-D.

"That time was the height of the YBA movement – 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 great friends. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I long for that rawness."

Although Enninful appears sentimental, he is not the only one. Lately, a wistful romanticisation of the 1990s has grown intense. However over the last thirty years, Enninful perceives a profound shift. "I believe, we’re less accepting now than we were in the 90s," he remarks. "This isn't just this country – it’s worldwide."

A Cultural Backslide

This shift is increasingly evident: the rise of far-right politics, the pushback against progressive values, and the reassertion of traditional beauty standards. Where once there was the optimism of the late 90s, currently a more divisive political force appears as a potential leader. Furthermore, the British flag, once an symbol of national pride, has returned as a polarising symbol.

For Enninful, the antidote has always been to celebrate 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 wide range of cultural icons from politics.

"Those in a position of influence should wield it," he says, explaining those publishing choices. "People often debate about immigration; I could not have had this life if Britain were not a open country, if it refused my family a home and an education. That’s the Britain I believed in. I trust this phase will pass."

A New Wave of Consciousness

He draws solace in the youth of today: "Their awareness is greater than we were. They analyse systemic issues – I didn't even know what that was."

The beginnings of his career would define a trailblazing career built on boldness and diversity. Enninful broke barriers as the first man, first black man, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His time featured diverse covers showcasing models of colour, curvy models, an octogenarian, and individuals from varied communities. Significantly, sales rose.

"Ignoring vast segments of the population, it’s more than that you’re not being inclusive – it’s bad for business," he explains.

A New Chapter as a 'Disruptor'

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

"My nature is to challenge the conventional wisdom. I was brought up in a place where everybody was black – the doctors, the attorneys, the president. Then we arrived in England, without funds, and I became the 'other'. I was painfully reserved. My teachers declared I’d never amount to anything. Me and my brothers were harassed under the Sus laws … all that gave me a unique perspective on the inside and the outside."

In contrast to the stereotype of fashion editors as brash and highly strung, Enninful is calm and radiates serenity. His path has included its share of challenges, including well-documented battles with depression and addiction.

He has also endured serious health issues, having had multiple operations on his eyes, resulting in impaired eyesight. "I experienced 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 prayed, if this ever is over, I’m just going to do everything 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 be defined narrowly has led him away from the industry that made his name. He is now organising a significant 1990s exhibition at Tate Britain, showcasing work by a group of defining artists and photographers from the era. The show, he explains, aims to explore the decade's artistic collaboration – and give platform to those who lacked a spotlight at the time.

"Galleries often failed to promote the truly innovative creators because they did not have the right pedigree," he states.

This project itself operates on a unique approach, eschewing traditional advertising in favour of partnership-based projects. "The question is, what can we create collaboratively? Is it an experience, a series? The magazine is a piece within a larger creative platform."

An Unstoppable Drive

Now, Enninful operates as one of the world's most powerful industry leaders. His journey, he feels, is a proof to the power of pursuing your passions.

What would the Edward of the 90s think of the his current self? He smiles. "He would be astonished, but he’d be impressed. Back then I was sceptical of institutions. I didn't think institutions like Tate were within my reach."

He reflects. "I never take anything for granted. We were displaced, we left our homeland. I came close to losing my vision. So fear is not a factor. People have doubted me my whole career. But nothing can stop me once I’ve set my intention to do something."