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

An unexpected discovery while riding the tube in 1988 transformed the path of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the London's buzzing 1990s creative scene, progressing from model to stylist and, by the age of 18, becoming the style editor of the publication i-D.

"That era 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 understood we’d be kindred spirits. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I long for that spontaneity."

If Enninful sounds wistful, he is far from alone. In recent times, a wistful romanticisation of the 1990s has grown intense. But since that time, Enninful perceives a noticeable regression. "I feel, we’re more divided now than we were in the 90s," he observes. "The issue extends beyond this country – it’s everywhere."

A Perceived Regression

This shift is difficult to overlook: the rise of nationalist groups, the pushback against progressive values, and the return of narrow beauty standards. In place of the optimism of the late 90s, now a different political personality looms as a potential leader. Furthermore, the Union Jack, once an symbol of Cool Britannia, has returned as a polarising symbol.

In Enninful's view, the solution has long been to champion culture in all its variety. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a broad spectrum of cultural icons from music.

"Individuals with a platform should wield it," he says, referring to those publishing choices. "Everyone talks about immigration; I would not be in this position if Britain hadn't been a lenient country, if it did not offer my family a refuge and an education. That’s the Britain I cherished. I trust this moment will end."

A New Wave of Consciousness

He finds hope in the younger generation: "Their awareness is greater than we were. They talk about systemic issues – I was not even aware what that was."

Those early experiences would shape a groundbreaking career built on boldness and diversity. Enninful broke barriers 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 leadership featured diverse covers showcasing models of colour, plus-sized women, older individuals, and individuals from varied communities. Critically, sales increased.

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

Launching a Creative Venture

He has recently launched his new venture EE72 and its accompanying magazine, 72, his key endeavour since moving on from his previous role. He states his aim to continue being a "innovator".

"My nature is to challenge the status quo. I was brought up in a place where the majority was Black – the doctors, the lawyers, the president. Then we arrived in England, without funds, and I became the 'other'. I was incredibly timid. My teachers predicted I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … this duality gave me a dual identity on the inside and the outside."

In contrast to the popular image of fashion editors as loud and temperamental, Enninful is measured in tone and exudes calm. His journey has not been immune to challenges, including openly discussed periods of mental health and addiction.

He has also undergone serious health challenges, having undergone several surgeries on his eyes, leading to partial sight. "I was in such a difficult period for two years, away from work, anxious 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 pursue all that I was so scared to do. I’m not going to restrict myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This refusal to be defined narrowly has inspired him outside the realm that established him. He is now curating a major 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 interdisciplinary energy – and give platform to those who lacked a spotlight at the time.

"The establishment often failed to shine a light on the truly innovative creators because they did not have the traditional credentials," he states.

The magazine 72 itself uses a different business model, forgoing traditional advertising in favour of creative collaborations. "We ask, what can we achieve in partnership? Is it an experience, a podcast? The magazine is one component of a broader vision."

A Testament to Resilience

Now, Enninful is regarded as one of the world's most respected cultural influencers. His path, he feels, is a demonstration to the power of following your instincts.

What would the Edward of the 90s think of the man he has become? He smiles. "He would be astonished, but he’d be impressed. In those days I was sceptical of institutions. I never imagined institutions like Tate were a place for someone like me."

He adds. "I never take anything for granted. We lost our home, we fled our country. I nearly lost my vision. So there is no room for fear. People have counted me out my entire life. But I am unstoppable once I’ve made up my mind to do something."