A chance encounter on the London Underground in 1988 transformed the path of a teenage Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was quickly drawn into the capital's electric 1990s creative scene, progressing from mannequin to stylist and, while still a teenager, becoming the fashion director of the iconic i-D.
"It was the height of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I understood we’d be kindred spirits. We all hung out across disciplines. Friday became Saturday into Sunday. I long for that energy."
If Enninful sounds nostalgic, he is not the only one. In recent times, a longing look back of the 1990s has reached fever pitch. However in the intervening decades, Enninful believes a significant change. "In my view, we’re less accepting now than we were in the 90s," he remarks. "This isn't just this country – it’s worldwide."
This change is difficult to overlook: the growth of nationalist groups, the pushback against social awareness, and the reinforcement of narrow beauty standards. Where once there was the hope of the Blair era, today a more divisive political force stands as a potential leader. Furthermore, the Union Jack, once an badge of national pride, has sparked debate once more.
For Enninful, the response has consistently been to champion culture in all its multifaceted forms. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a diverse array of cultural icons from politics.
"People with a voice should wield it," he comments, explaining those publishing choices. "There is much discussion about immigration; I would not be in this position if Britain was not a open country, if it did not offer my family a home and an education. That’s the Britain I cherished. I hope this moment will fade."
He takes comfort in the youth of today: "They are far more conscious than we were. They talk about systemic issues – I was not even aware what that was."
Those early experiences would shape a groundbreaking career built on fearlessness and inclusivity. Enninful made history as the first male, first black man, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His leadership featured diverse covers showcasing models of colour, plus-sized women, older individuals, and individuals from all walks of life. Importantly, sales increased.
"To overlook large portions of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he states.
He has since founded his agency EE72 and its accompanying magazine, 72, his premier initiative since departing his previous role. He expresses a desire to continue being a "change-maker".
"My nature is to challenge the status quo. I was brought up in a place where everybody was black – the doctors, the lawyers, the leader. Then we arrived in England, penniless, and I was a minority. I was very shy. My teachers said I’d have no future. Me and my brothers were subject to police stops the Sus laws … this duality gave me a dual identity between worlds."
In contrast to the popular image of fashion editors as loud and temperamental, Enninful is calm and exudes calm. His path has included its share of adversity, including openly discussed struggles with depression and substance use.
He has also endured serious health challenges, having had multiple operations on his eyes, leading to impaired eyesight. "I endured such a dark place for two years, away from work, terrified I was going to lose my sight. It’s comparable to PTSD; you just exist in a state of dread 24/7. I thought, if this ever passes, I’m just going to pursue all that I was so fearful 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 led him outside the industry that made his name. He is now curating a major 1990s exhibition at Tate Britain, showcasing work by a host of pivotal artists and photographers from the era. The show, he says, aims to capture the decade's interdisciplinary energy – and give platform to those who did not receive adequate attention at the time.
"Institutions sometimes neglected to shine a light on the truly innovative creators because they lacked the right pedigree," he observes.
This venture itself operates on a novel strategy, rejecting traditional advertising in favour of creative collaborations. "The question is, what can we do together? Is it an experience, a podcast? The magazine is part of a greater ecosystem."
Now, Enninful operates as one of the world's most powerful creative power brokers. His path, he feels, is a proof to the power of pursuing your passions.
What would the Enninful of that era make of the his current self? He chuckles. "He’d be in shock, but he’d be proud. At that time I was anti-establishment. 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 nearly lost my vision. So fear isn't an option. People have underestimated me my whole career. But I am unstoppable once I’ve made up my mind to do something."
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