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

An unexpected discovery during a tube journey in 1988 altered the course of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the city's electric 1990s cultural landscape, progressing from model to stylist and, before turning twenty, becoming the fashion director of i-D magazine.

"That time was the zenith of the YBA movement – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I understood we’d be kindred spirits. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I yearn for that spontaneity."

While Enninful may seem wistful, he is not the only one. Lately, a wistful romanticisation of the 1990s has reached fever pitch. But over the last thirty years, Enninful feels a noticeable regression. "I feel, we’re less tolerant now than we were in the 90s," he says. "This isn't just this country – it’s worldwide."

Shifting Attitudes

This change is increasingly evident: the rise of far-right politics, the backlash against so-called "wokeness", and the return of narrow beauty standards. In place of the hope of the previous decade, currently a different political figure stands as a possible leader. Furthermore, the British flag, once an badge of national pride, has sparked debate once more.

According to Enninful, the response has long been to champion culture in all its diversity. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a diverse array of prominent faces from literature.

"Those in a position of influence should employ it," he says, referring to those publishing choices. "People often debate about immigration; I would not be in this position if Britain hadn't been a welcoming country, if it hadn't given my family a home and an opportunity. That’s the Britain I always loved. I believe this moment will fade."

A New Wave of Consciousness

He takes comfort in the youth of today: "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 trailblazing career marked by boldness and inclusivity. Enninful broke barriers as the first male, first black man, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His tenure featured historic front pages showcasing Black models, plus-sized women, an octogenarian, and individuals from varied communities. Importantly, sales rose.

"Ignoring vast segments of the population, it’s more than that you’re excluding people – it’s bad for business," he explains.

Launching a Creative Venture

He has established his new venture EE72 and its flagship publication, 72, his premier initiative since moving on from his previous role. He states his aim to continue being a "disruptor".

"I constantly interrogate the established norms. I was raised in a place where everybody was black – the physicians, the lawyers, the president. Then we came to England, penniless, and I found myself on the margins. I was painfully reserved. My teachers predicted I’d never amount to anything. Me and my brothers were subject to police stops the Sus laws … all that gave me a dual identity both an insider and outsider."

In contrast to the caricature of industry figures as brash and temperamental, Enninful is calm and projects peace. His life has involved challenges, including openly discussed struggles with mental health and substance use.

He has also faced serious health issues, having undergone several surgeries on his eyes, resulting in partial sight. "I was in such a dark place for two years, not working, anxious I was going to go blind. It’s like PTSD; you just exist in a state of dread 24/7. I thought, if this ever passes, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to confine myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This drive to fit into a box has inspired him away from the industry that established him. He is now curating a major 1990s exhibition at Tate Britain, bringing together work by a group of defining artists and photographers from the era. The show, he says, aims to evoke the decade's artistic collaboration – and highlight those who did not receive a spotlight at the time.

"The establishment often failed to celebrate the truly innovative creators because they weren't of the traditional credentials," he observes.

The magazine 72 itself operates on a unique strategy, rejecting traditional advertising in favour of partnership-based projects. "Our approach is, what can we do together? Is it an experience, a series? The magazine is a piece within a broader vision."

A Testament to Resilience

Now, Enninful is regarded as one of the world's most influential industry leaders. His journey, he believes, is a testament to the power of following your instincts.

How would the Edward of the 90s make of the Edward of today? He chuckles. "It would be a surprise, but he’d be impressed. Back then I was a rebel. I would not have believed institutions like Tate were necessarily for me."

He pauses. "I never take anything for granted. We fled, we left our homeland. I almost lost my vision. So there is no room for fear. People have doubted me my whole career. But I am unstoppable once I’ve made up my mind to do something."