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

A chance encounter during a tube journey in 1988 transformed the course of a teenage Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the London's buzzing 1990s artistic milieu, evolving from mannequin to stylist and, while still a teenager, becoming the style editor of i-D magazine.

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

Although Enninful appears nostalgic, he is not the only one. Lately, a wistful romanticisation of the 1990s has reached fever pitch. Yet over the last thirty years, Enninful perceives a noticeable regression. "I feel, we’re less accepting now than we were in the 90s," he says. "The issue extends beyond this country – it’s everywhere."

Shifting Attitudes

This change is increasingly evident: the growth of nationalist groups, the backlash against so-called "wokeness", and the reassertion of Eurocentric beauty standards. Replacing the hope of the Blair era, now a more divisive political force appears as a potential leader. Furthermore, the British flag, once an symbol of cultural optimism, has returned as a polarising symbol.

According to Enninful, the solution has consistently been to champion culture in all its multifaceted forms. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a wide range of influential figures from politics.

"Those in a position of influence should use it," he asserts, discussing those publishing choices. "People often debate about immigration; I wouldn't be here if Britain were not a welcoming country, if it refused my family a refuge and an education. That’s the Britain I cherished. I hope this moment will end."

Hope in the Next Generation

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

His formative years would define a trailblazing career built on boldness and inclusivity. Enninful broke barriers as the first man, first Black editor, first openly gay person, and first disabled Black gay man to lead at British Vogue. His leadership featured landmark covers showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and people from all walks of life. Importantly, sales grew.

"To overlook large portions of the population, it’s more than that you’re failing to represent – it’s a poor strategy," he explains.

Beyond the Magazine World

He has since founded his creative company EE72 and its flagship publication, 72, his premier initiative since leaving his previous role. He says he wants to continue being a "innovator".

"I’ve always questioned the established norms. I was born and raised in a place where everybody was black – the physicians, the lawyers, the president. Then we came to England, without funds, and I was a minority. I was painfully reserved. My teachers predicted I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … those experiences gave me a dual identity between worlds."

Contrary to the caricature of fashion editors as brash and temperamental, Enninful is softly spoken and exudes calm. His path has included its share of hardship, including publicly shared struggles with mental health and substance use.

He has also faced significant health challenges, having had multiple operations on his eyes, now leaving him with impaired eyesight. "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 live in fear 24/7. I thought, if this ever ends, I’m just going to do everything that I was so scared to do. I’m not going to limit myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This drive to be typecast has led him away from the world that established him. He is now curating a major 1990s exhibition at Tate Britain, bringing together work by a group of influential artists and photographers from the era. The show, he notes, aims to capture the decade's artistic collaboration – and highlight those who did not receive a spotlight at the time.

"Galleries sometimes neglected to shine a light on the truly innovative creators because they weren't of the right pedigree," he comments.

This venture itself operates on a unique approach, rejecting traditional advertising in favour of creative collaborations. "The question is, what can we achieve in partnership? Is it an event, a series? The magazine is part of a larger creative platform."

A Testament to Resilience

Now, Enninful operates as one of the world's most influential creative power brokers. His story, he believes, is a proof to the power of pursuing your passions.

How would the younger Edward think of the Edward of today? He smiles. "He would be astonished, but he’d be impressed. At that time I was a rebel. I would not have believed institutions like Tate were a place for someone like me."

He reflects. "Gratitude is key. We were displaced, we fled our country. I came close to losing my vision. So fear is not a factor. People have doubted me my entire life. But I am unstoppable once I’ve made up my mind to do something."