An unexpected discovery during a tube journey in 1988 altered the trajectory of a teenage Ghanaian arrival to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the London's electric 1990s creative scene, progressing from model to stylist and, before turning twenty, becoming the fashion director of the publication i-D.
"It was the peak of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I knew we’d be great friends. We all socialised across disciplines. Friday became Saturday into Sunday. I yearn for that spontaneity."
If Enninful sounds nostalgic, he is not the only one. Lately, a longing look back of the 1990s has grown intense. However since that time, Enninful believes a noticeable regression. "In my view, we’re less tolerant now than we were in the 90s," he says. "This isn't just this country – it’s worldwide."
This regression is increasingly evident: the resurgence of nationalist groups, the backlash against progressive values, and the reassertion of Eurocentric beauty standards. Where once there was the optimism of the late 90s, today a more divisive political figure stands as a potential leader. Furthermore, the British flag, once an badge of cultural optimism, has returned as a polarising symbol.
According to Enninful, the antidote has consistently been to celebrate culture in all its diversity. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a wide range of cultural icons from politics.
"Those in a position of influence should wield it," he comments, discussing those editorial decisions. "There is much discussion about immigration; I could not have had this life if Britain was not a open country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I always loved. I believe this phase will fade."
He finds hope in the younger generation: "They are far more conscious than we were. They discuss unconscious bias – I had no concept what that was."
Those early experiences would forge a pioneering career built on boldness and diversity. Enninful made history as the first male, first black man, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His time featured landmark covers showcasing models of colour, curvy models, older individuals, and people from varied communities. Importantly, sales rose.
"Ignoring vast segments of the population, it’s more than that you’re not being inclusive – it’s commercially unwise," he emphasises.
He has established his creative company EE72 and its accompanying magazine, 72, his premier initiative since departing his former post. He expresses a desire to continue being a "change-maker".
"My nature is to challenge the conventional wisdom. I was born and raised in a place where everybody was black – the physicians, the lawyers, the president. Then we came to England, with nothing, and I found myself on the margins. I was painfully reserved. My teachers predicted I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … those experiences gave me a sense of being both an insider and outsider."
Contrary to the stereotype of fashion editors as brash and highly strung, Enninful is calm and exudes calm. His life has included its share of challenges, including well-documented struggles with depression and substance use.
He has also endured serious health issues, having had multiple operations on his eyes, now leaving him with impaired eyesight. "I was in such a difficult period for two years, not working, anxious I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I vowed, if this ever ends, I’m just going to do everything that I was so scared to do. I’m not going to confine myself to just being an editor or a fashion person."
This refusal to be defined narrowly has inspired him away from the world that made his name. He is now curating a seminal 1990s exhibition at Tate Britain, showcasing work by a roster of defining artists and photographers from the era. The show, he explains, aims to evoke the decade's artistic collaboration – and highlight those who did not receive a spotlight at the time.
"Institutions often failed to promote the most relevant talents because they lacked the traditional credentials," he comments.
This venture itself functions with a unique approach, eschewing traditional advertising in favour of creative collaborations. "We ask, what can we do together? Is it an experience, a series? The magazine is a piece within a broader vision."
Today, Enninful operates as one of the world's most powerful cultural influencers. His journey, he states, is a testament to the power of following your instincts.
What would the Edward of the 90s make of the Edward of today? He chuckles. "He would be astonished, but he’d be impressed. Back then I was sceptical of institutions. I would not have believed institutions like Tate were necessarily for me."
He pauses. "Gratitude is key. We lost our home, we left our homeland. I came close to losing my vision. So there is no room for fear. People have underestimated me my entire life. But no obstacle is too great once I’ve set my intention to do something."
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