Edward Enninful reflects on Modern Britain: 'A Decline in Tolerance' Than We Were Decades Ago.

An unexpected discovery while riding the tube in 1988 changed forever the path of a teenage Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the city's vibrant 1990s creative scene, evolving from mannequin to stylist and, while still a teenager, becoming the style editor of the publication i-D.

"That time was the height of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I felt we’d be great friends. We all mixed across disciplines. Friday became Saturday into Sunday. I yearn for that rawness."

Although Enninful appears nostalgic, he is in good company. Lately, a longing look back of the 1990s has become pervasive. But in the intervening decades, Enninful feels a noticeable regression. "I believe, we’re less tolerant now than we were in the 90s," he remarks. "It’s not even this country – it’s worldwide."

A Cultural Backslide

This change is increasingly evident: the growth of far-right politics, the backlash against progressive values, and the return of traditional beauty standards. Where once there was the optimism of the previous decade, currently a different political personality stands as a possible leader. Furthermore, the British flag, once an symbol of cultural optimism, has sparked debate once more.

For Enninful, the response has long been to champion culture in all its variety. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a diverse array of influential figures from art.

"Those in a position of influence should wield it," he comments, explaining those publishing choices. "Everyone talks about immigration; I would not be in this position if Britain hadn't been a open country, if it hadn't given my family a refuge and an education. That’s the Britain I believed in. I trust this phase will fade."

Hope in the Next Generation

He finds hope in the younger generation: "Their awareness is greater than we were. They analyse implicit prejudice – I didn't even know what that was."

Those early experiences would define a pioneering career marked by boldness and representation. Enninful made history as the first man, first black man, first gay man, and first disabled gay man of colour to lead at British Vogue. His tenure featured historic front pages showcasing people of diverse backgrounds, plus-sized women, an octogenarian, and people from all walks of life. Importantly, sales increased.

"To overlook vast segments of the population, it’s not just that you’re failing to represent – it’s commercially unwise," he emphasises.

Beyond the Magazine World

He has established 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 "change-maker".

"I constantly interrogate the established norms. I was born and raised in a place where everybody was black – the physicians, the lawyers, the president. Then we came to England, without funds, and I became the 'other'. I was incredibly timid. My teachers said I’d have no future. Me and my brothers were harassed under the suspicion laws … those experiences gave me a unique perspective between worlds."

Contrary to the popular image of industry figures as brash and temperamental, Enninful is measured in tone and exudes calm. His life has included its share of adversity, including openly discussed struggles with mental health and substance use.

He has also endured serious health issues, having undergone several surgeries on his eyes, leading to limited vision. "I endured such a dark place for two years, away from work, terrified I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I vowed, if this ever is over, I’m just going to pursue all that I was so afraid to do. I’m not going to restrict myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This refusal to fit into a box has inspired him away from the world that established him. He is now organising a major 1990s exhibition at Tate Britain, featuring work by a roster of defining artists and photographers from the era. The show, he explains, aims to evoke the decade's creative cross-pollination – and spotlight those who lacked adequate attention at the time.

"Institutions didn't always shine a light on the most relevant talents because they weren't of the expected background," he comments.

This project itself functions with a novel approach, forgoing 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 greater ecosystem."

Looking Forward Without Fear

Today, Enninful is regarded as one of the world's most respected cultural influencers. His journey, he states, is a testament to the power of defying expectations.

How would the Edward of the 90s make of the man he has become? He smiles. "He’d be in shock, but he’d be impressed. In those days I was sceptical of institutions. I never imagined institutions like Tate were necessarily for me."

He pauses. "I never take anything for granted. We lost our home, we fled our country. I almost lost my vision. So there is no room for fear. People have underestimated me my entire life. But I am unstoppable once I’ve decided to do something."