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

An unexpected discovery while riding the tube in 1988 altered the path of a young Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the London's buzzing 1990s creative scene, evolving from model to stylist and, by the age of 18, becoming the style editor of i-D magazine.

"That era was the height of the YBA movement – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I understood we’d be great friends. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I long for that energy."

While Enninful may seem nostalgic, he is not the only one. Recently, a wistful romanticisation of the 1990s has grown intense. Yet over the last thirty years, Enninful feels a profound shift. "In my view, we’re more divided now than we were in the 90s," he observes. "This isn't just this country – it’s worldwide."

A Perceived Regression

This change is increasingly evident: the growth of far-right politics, the reaction against social awareness, and the reassertion of Eurocentric beauty standards. Where once there was the hope of the previous decade, now a more divisive political figure looms as a possible leader. Even, the British flag, once an emblem of national pride, has become contentious again.

For Enninful, the solution has long been to celebrate culture in all its diversity. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, showcasing a diverse array of influential figures from politics.

"Individuals with a platform should employ it," he says, discussing those editorial decisions. "Everyone talks about immigration; I would not be in this position if Britain was not a lenient country, if it did not offer my family a refuge and an education. That’s the Britain I always loved. I believe this period will end."

Hope in the Next Generation

He finds hope in the younger generation: "They’re much more aware than we were. They talk about systemic issues – I didn't even know what that was."

His formative years would define a pioneering career characterised by fearlessness and representation. Enninful made history as the first male, first Black editor, first gay man, and first disabled Black gay man to take the helm at British Vogue. His leadership featured landmark covers showcasing Black models, curvy models, older individuals, and individuals from varied communities. Critically, sales rose.

"Ignoring huge sections of the population, it’s not just that you’re failing to represent – it’s a poor strategy," he explains.

A New Chapter as a 'Disruptor'

He has since founded his agency EE72 and its flagship publication, 72, his first major project since departing his former post. He says he wants to continue being a "disruptor".

"I’ve always questioned the conventional wisdom. I was born and raised in a place where Black professionals were the norm – the physicians, the lawyers, the president. Then we came to England, with nothing, and I became the 'other'. I was very shy. My teachers predicted I’d have no future. Me and my brothers were subject to police stops the suspicion laws … all that gave me a sense of being on the inside and the outside."

In contrast to the stereotype of industry figures as loud and highly strung, Enninful is calm and exudes calm. His path has included its share of adversity, including publicly shared periods of mental health and addiction.

He has also undergone serious health issues, having had multiple operations on his eyes, resulting in limited vision. "I was in such a dark place for two years, away from work, fearing I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever passes, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to limit myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This determination to fit into a box has inspired him away from the world that built his career. He is now organising a significant 1990s exhibition at Tate Britain, featuring work by a host of influential artists and photographers from the era. The show, he says, aims to explore the decade's interdisciplinary energy – and highlight those who lacked a spotlight at the time.

"Galleries sometimes neglected to promote the right artists because they did not have the right pedigree," he comments.

This venture itself operates on a different approach, rejecting traditional advertising in favour of partnership-based projects. "The question is, what can we create collaboratively? Is it an experience, a podcast? The magazine is part of a greater ecosystem."

Looking Forward Without Fear

Now, Enninful operates as one of the world's most respected cultural influencers. His story, he states, is a testament to the power of pursuing your passions.

What would the Edward of the 90s think of the man he has become? He smiles. "It would be a surprise, but he’d be impressed. At that time I was a rebel. I would not have believed institutions like Tate were within my reach."

He reflects. "Nothing is assumed. We lost our home, we fled our country. I almost lost my vision. So fear is not a factor. People have counted me out my entire life. But nothing can stop me once I’ve made up my mind to do something."