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

A chance encounter on the London Underground in 1988 changed forever the course of a teenage Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the capital's buzzing 1990s cultural landscape, progressing from mannequin to stylist and, by the age of 18, becoming the style editor of the publication i-D.

"That era was the zenith of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I understood we’d be kindred spirits. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I yearn for that rawness."

While Enninful may seem nostalgic, he is far from alone. Recently, a longing look back of the 1990s has grown intense. Yet over the last thirty years, Enninful feels 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 change is increasingly evident: the resurgence of populist movements, the pushback against progressive values, and the return of Eurocentric beauty standards. Where once there was the hope of the late 90s, now a different political force stands as a possible leader. Even, the Union Jack, once an badge of national pride, has returned as a polarising symbol.

According to Enninful, the antidote has consistently been to promote culture in all its diversity. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a broad spectrum of prominent faces from music.

"Those in a position of influence should use it," he asserts, referring to those editorial decisions. "People often debate about immigration; I could not have had this life if Britain were not a welcoming country, if it refused my family a home and an opportunity. That’s the Britain I cherished. I trust this period will end."

A New Wave of Consciousness

He finds hope in the next generation: "They are far more conscious than we were. They analyse systemic issues – I didn't even know what that was."

The beginnings of his career would forge a groundbreaking career built on boldness and representation. Enninful set a precedent as the first male, first Black editor, first gay man, and first disabled Black gay man to lead at British Vogue. His tenure featured landmark covers showcasing models of colour, curvy models, older individuals, and people from all walks of life. Significantly, sales rose.

"To overlook large portions of the population, it’s not just that you’re failing to represent – it’s commercially unwise," he explains.

A New Chapter as a 'Disruptor'

He has established his agency 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".

"My nature is to challenge the conventional wisdom. I was born and raised in a place where the majority was Black – the physicians, the attorneys, the president. Then we came to England, penniless, and I became the 'other'. I was very shy. My teachers said I’d achieve nothing. Me and my brothers were harassed under the Sus laws … this duality gave me a sense of being between worlds."

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

He has also faced significant health challenges, having had multiple operations on his eyes, leading to partial sight. "I experienced such a difficult period for two years, away from work, anxious I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I thought, if this ever is over, I’m just going to pursue all that I was so afraid to do. I’m not going to confine myself to just being an editor or a fashion person."

Curating a Cultural Era

This drive to be typecast has propelled him outside the world that built his career. 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 explains, aims to capture the decade's interdisciplinary energy – and spotlight those who weren't given due recognition at the time.

"The establishment didn't always promote the most relevant talents because they lacked the traditional credentials," he comments.

This project itself uses a novel business model, eschewing traditional advertising in favour of partnership-based projects. "The question is, what can we create collaboratively? Is it an event, a podcast? The magazine is a piece within a larger creative platform."

Looking Forward Without Fear

Currently, Enninful is regarded as one of the world's most respected creative power brokers. His journey, he states, is a proof to the power of defying expectations.

What would the Edward of the 90s make of the his current self? He smiles. "He would be astonished, but he’d be impressed. In those days I was a rebel. I would not have believed institutions like Tate were within my reach."

He pauses. "Nothing is assumed. We fled, we left our homeland. I came close to losing my vision. So there is no room for fear. People have underestimated me my whole career. But nothing can stop me once I’ve decided to do something."