A serendipitous meeting while riding the tube in 1988 changed forever the course of a teenage Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the capital's buzzing 1990s cultural landscape, moving from mannequin to stylist and, while still a teenager, becoming the style editor of the iconic i-D.
"That time was the zenith of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I felt we’d be kindred spirits. We all socialised across disciplines. Friday became Saturday into Sunday. I yearn for that energy."
Although Enninful appears nostalgic, he is in good company. In recent times, a wistful romanticisation of the 1990s has become pervasive. However over the last thirty years, Enninful perceives a profound shift. "I feel, we’re less accepting now than we were in the 90s," he observes. "It’s not even this country – it’s everywhere."
This shift is hard to ignore: the resurgence of populist movements, the pushback against social awareness, and the reassertion of Eurocentric beauty standards. Where once there was the hope of the previous decade, today a more divisive political force appears as a possible leader. Furthermore, the British flag, once an badge of national pride, has become contentious again.
For Enninful, the response has consistently been to celebrate culture in all its variety. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a broad spectrum of prominent faces from politics.
"Those in a position of influence should wield it," he asserts, explaining those editorial decisions. "There is much discussion about immigration; I could not have had this life if Britain were not a welcoming country, if it did not offer my family a refuge and an opportunity. That’s the Britain I believed in. I believe this phase will pass."
He draws solace in the younger generation: "Their awareness is greater than we were. They analyse systemic issues – I didn't even know what that was."
His formative years would define a groundbreaking career built on boldness and representation. Enninful broke barriers as the first man, first black man, first gay man, and first disabled Black gay man to take the helm at British Vogue. His tenure featured landmark covers showcasing models of colour, plus-sized women, older individuals, and people from all walks of life. Significantly, sales increased.
"When you ignore large portions of the population, it’s not just that you’re failing to represent – it’s bad for business," he states.
He has since founded his new venture EE72 and its accompanying magazine, 72, his first major project since leaving his former post. He says he wants to continue being a "change-maker".
"I’ve always questioned the status quo. I was born and raised in a place where the majority was Black – the doctors, the lawyers, the leader. Then we came to England, with nothing, and I became the 'other'. I was painfully reserved. My teachers said I’d have no future. Me and my brothers were subject to police stops the Sus laws … all that gave me a dual identity on the inside and the outside."
In contrast to the stereotype of fashion editors as brash and temperamental, Enninful is measured in tone and exudes calm. His life has included its share of adversity, including publicly shared struggles with depression and substance use.
He has also endured significant health issues, having undergone several surgeries on his eyes, resulting in limited vision. "I endured such a time of fear for two years, away from work, anxious 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 embrace every opportunity that I was so fearful to do. I’m not going to confine myself to just being an editor or a figure in fashion."
This determination to be defined narrowly has inspired him away from the industry that built his career. He is now organising a significant 1990s exhibition at Tate Britain, bringing together work by a roster of defining artists and photographers from the era. The show, he notes, aims to explore the decade's creative cross-pollination – and highlight those who did not receive a spotlight at the time.
"Institutions sometimes neglected to promote the right artists because they did not have the traditional credentials," he observes.
This project itself functions with a novel business model, rejecting traditional advertising in favour of partnership-based projects. "We ask, what can we create collaboratively? Is it an event, a series? The magazine is part of a broader vision."
Today, Enninful operates as one of the world's most respected industry leaders. His story, he believes, is a proof to the power of following your instincts.
How would the Edward of the 90s think of the man he has become? He laughs heartily. "He would be astonished, but he’d be pleased. In those days I was anti-establishment. I would not have believed institutions like Tate were a place for someone like me."
He adds. "I never take anything for granted. We fled, we fled our country. I nearly lost my vision. So there is no room for fear. People have doubted me my whole career. But nothing can stop me once I’ve set my intention to do something."
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