Edward Enninful discusses Modern Britain: 'Britain Feels Less Tolerant Now' Than in the 90s.

An unexpected discovery on the London Underground in 1988 transformed the trajectory of a teenage Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the city's vibrant 1990s artistic milieu, moving from mannequin to stylist and, while still a teenager, becoming the style editor of the iconic i-D.

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

Although Enninful appears nostalgic, he is in good company. Recently, a longing look back of the 1990s has grown intense. But in the intervening decades, Enninful perceives a significant change. "I believe, we’re less tolerant now than we were in the 90s," he says. "It’s not even this country – it’s worldwide."

A Perceived Regression

This change is difficult to overlook: the rise of far-right politics, the pushback against progressive values, and the return of traditional beauty standards. Replacing the optimism of the previous decade, currently a different political personality stands as a possible leader. Even, the Union Jack, once an symbol of Cool Britannia, has become contentious again.

For Enninful, the antidote has long been to champion culture in all its multifaceted forms. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a broad spectrum of cultural icons from music.

"People with a voice should employ it," he says, discussing those editorial decisions. "There is much discussion about immigration; I would not be in this position if Britain was not a welcoming country, if it hadn't given my family a home and an education. That’s the Britain I always loved. I believe this moment will pass."

The Younger Generation's Awareness

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

His formative years would forge a trailblazing career built on fearlessness and diversity. Enninful made history 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 historic front pages showcasing models of colour, curvy models, an octogenarian, and people from varied communities. Significantly, sales rose.

"Ignoring vast segments of the population, it’s more than that you’re not being inclusive – it’s a poor strategy," he states.

Beyond the Magazine World

He has since founded his new venture EE72 and its accompanying magazine, 72, his first major project since moving on from his former post. He says he wants 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 doctors, the lawyers, the president. Then we came to England, without funds, and I was a minority. I was incredibly timid. My teachers predicted I’d achieve nothing. Me and my brothers were subject to police stops the Sus laws … this duality gave me a dual identity between worlds."

Defying the popular image of industry figures as brash and highly strung, Enninful is measured in tone and exudes calm. His life has involved hardship, including publicly shared struggles with mental health and addiction.

He has also undergone significant health challenges, having undergone several surgeries on his eyes, now leaving him with limited vision. "I experienced such a time of fear for two years, not working, terrified 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 ends, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This drive to be defined narrowly has propelled him away from the realm that built his career. He is now organising a significant 1990s exhibition at Tate Britain, showcasing work by a roster of influential artists and photographers from the era. The show, he explains, aims to evoke the decade's interdisciplinary energy – and give platform to those who weren't given adequate attention at the time.

"Institutions often failed to celebrate the right artists because they did not have the right pedigree," he states.

The magazine 72 itself uses a different business model, 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 a piece within a larger creative platform."

Looking Forward Without Fear

Now, Enninful operates as one of the world's most powerful industry leaders. His path, he believes, is a testament to the power of defying expectations.

What would the Edward of the 90s think of the his current self? He chuckles. "He’d be in shock, but he’d be impressed. At that time I was a rebel. I didn't think institutions like Tate were necessarily for me."

He pauses. "Gratitude is key. We were displaced, we left our homeland. I nearly lost my vision. So fear is not a factor. People have doubted me my entire life. But I am unstoppable once I’ve decided to do something."