Edward Enninful discusses Modern Britain: 'We Are Less Tolerant Now' Compared to the Nineties.

An unexpected discovery on the London Underground in 1988 changed forever the trajectory of a teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the city's vibrant 1990s cultural landscape, evolving from model to stylist and, while still a teenager, becoming the style editor of i-D magazine.

"That era was the height of the Young British Artists – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I understood we’d be close. We all mixed across disciplines. Friday bled into Saturday into Sunday. I long for that rawness."

While Enninful may seem sentimental, he is far from alone. Recently, a wistful romanticisation of the 1990s has grown intense. Yet over the last thirty years, Enninful feels a significant change. "I believe, we’re less accepting now than we were in the 90s," he says. "This isn't just this country – it’s worldwide."

Shifting Attitudes

This change is hard to ignore: the resurgence of nationalist groups, the backlash against so-called "wokeness", and the reinforcement of Eurocentric beauty standards. Replacing the optimism of the late 90s, now a different political force appears as a potential leader. Even, the British flag, once an emblem of cultural optimism, has returned as a polarising symbol.

According to Enninful, the response has always been to champion culture in all its variety. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a diverse array of cultural icons from politics.

"People with a voice should employ it," he comments, explaining those publishing choices. "People often debate about immigration; I would not be in this position if Britain was not a lenient country, if it refused my family a home and an education. That’s the Britain I always loved. I believe this moment will pass."

A New Wave of Consciousness

He takes comfort in the youth of today: "They’re much more aware than we were. They discuss systemic issues – I had no concept what that was."

Those early experiences would forge a trailblazing career marked by fearlessness and representation. Enninful broke barriers as the first male, first black man, first gay man, and first disabled Black gay man to lead at British Vogue. His tenure featured historic front pages showcasing Black models, plus-sized women, older individuals, and people from all walks of life. Critically, sales increased.

"To overlook vast segments of the population, it’s more than that you’re not being inclusive – it’s bad for business," he explains.

Launching a Creative Venture

He has established his agency EE72 and its accompanying magazine, 72, his first major project since leaving his previous role. He says he wants to continue being a "disruptor".

"I constantly interrogate the status quo. I was raised in a place where everybody was black – the doctors, the lawyers, the president. Then we arrived in England, penniless, and I became the 'other'. I was incredibly timid. My teachers said I’d have no future. Me and my brothers were stopped by the police the Sus laws … this duality gave me a unique perspective between worlds."

In contrast to the caricature of fashion editors as brash and highly strung, Enninful is calm and exudes calm. His life has involved hardship, including well-documented periods of depression and addiction.

He has also faced significant health issues, having had multiple operations on his eyes, leading to impaired eyesight. "I experienced such a dark place for two years, not working, fearing I was going to lose my sight. It’s comparable to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever ends, I’m just going to pursue all that I was so afraid to do. I’m not going to limit myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This drive to be defined narrowly has propelled him away from the world that established him. He is now organising a significant 1990s exhibition at Tate Britain, bringing together work by a roster of influential artists and photographers from the era. The show, he notes, aims to evoke the decade's interdisciplinary energy – and highlight those who weren't given adequate attention at the time.

"Institutions sometimes neglected to promote the truly innovative creators because they weren't of the right pedigree," he observes.

This project itself uses a different approach, eschewing traditional advertising in favour of partnership-based projects. "We ask, what can we do together? Is it an experience, a podcast? The magazine is a piece within a broader vision."

An Unstoppable Drive

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

How would the Edward of the 90s react to the Edward of today? He smiles. "He would be astonished, but he’d be pleased. In those days I was anti-establishment. I didn't think institutions like Tate were a place for someone like me."

He pauses. "Nothing is assumed. We fled, we fled our country. I almost lost my vision. So there is no room for fear. People have doubted me my entire life. But I am unstoppable once I’ve set my intention to do something."