Edward Enninful reflects on Modern Britain: 'We Are Less Tolerant Now' Than in the 90s.

An unexpected discovery while riding the tube in 1988 transformed the path of a young Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the London's vibrant 1990s cultural landscape, evolving from model to stylist and, before turning twenty, becoming the fashion director of the iconic i-D.

"That time was the zenith of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I felt we’d be close. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I yearn for that energy."

If Enninful sounds nostalgic, he is not the only one. In recent times, a wistful romanticisation of the 1990s has become pervasive. But over the last thirty years, Enninful feels a noticeable regression. "I believe, we’re more divided now than we were in the 90s," he says. "This isn't just this country – it’s worldwide."

A Perceived Regression

This change is difficult to overlook: the resurgence of nationalist groups, the reaction against social awareness, and the return of traditional beauty standards. In place of the optimism of the late 90s, currently a different political force looms as a potential leader. Even, the British flag, once an badge of national pride, has returned as a polarising symbol.

According to Enninful, the response has consistently been to celebrate culture in all its multifaceted forms. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a wide range of influential figures from literature.

"Those in a position of influence should use it," he says, referring to those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain were not a lenient country, if it refused my family a home and an education. That’s the Britain I always loved. I believe this period will fade."

The Younger Generation's Awareness

He finds hope in the next generation: "They are far more conscious than we were. They talk about implicit prejudice – I was not even aware what that was."

Those early experiences would shape a pioneering career built on boldness and inclusivity. Enninful broke barriers as the first male, first Black editor, first gay man, and first disabled gay man of colour to lead at British Vogue. His tenure featured diverse covers showcasing people of diverse backgrounds, plus-sized women, older individuals, and individuals from all walks of life. Importantly, sales rose.

"Ignoring vast segments of the population, it’s more than that you’re failing to represent – it’s bad for business," he emphasises.

Launching a Creative Venture

He has since founded his agency EE72 and its accompanying magazine, 72, his key endeavour since departing his previous role. He says he wants to continue being a "innovator".

"My nature is to challenge the conventional wisdom. I was brought up in a place where Black professionals were the norm – the physicians, the lawyers, the leader. Then we came to England, with nothing, and I became the 'other'. I was incredibly timid. My teachers said I’d achieve nothing. Me and my brothers were subject to police stops the Sus laws … those experiences gave me a sense of being between worlds."

Defying the stereotype of industry figures as brash and temperamental, Enninful is calm and radiates serenity. His journey has included its share of challenges, including publicly shared battles with mental health and substance use.

He has also undergone significant health issues, having had multiple operations on his eyes, resulting in impaired eyesight. "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 prayed, if this ever passes, I’m just going to pursue all that I was so fearful to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

A Foray into Curation

This drive to be typecast has inspired him outside the industry that built his career. He is now curating a significant 1990s exhibition at Tate Britain, featuring work by a group of influential artists and photographers from the era. The show, he explains, aims to evoke the decade's interdisciplinary energy – and highlight those who did not receive due recognition at the time.

"The establishment often failed to shine a light on the most relevant talents because they weren't of the expected background," he comments.

This venture itself operates on a different strategy, forgoing traditional advertising in favour of creative collaborations. "Our approach is, what can we create collaboratively? Is it an experience, a podcast? The magazine is one component of a larger creative platform."

An Unstoppable Drive

Currently, Enninful operates as one of the world's most influential industry leaders. His path, he feels, is a demonstration to the power of defying expectations.

What would the younger Edward react to the man he has become? He chuckles. "He’d be in shock, but he’d be pleased. In those days I was sceptical of institutions. I would not have believed institutions like Tate were necessarily for me."

He reflects. "Gratitude is key. We were displaced, we fled our country. I came close to losing my vision. So fear isn't an option. People have underestimated me my whole career. But I am unstoppable once I’ve decided to do something."