A chance encounter during a tube journey in 1988 transformed the path of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the London's buzzing 1990s cultural landscape, evolving from model to stylist and, before turning twenty, becoming the fashion director of the publication i-D.
"That era was the peak of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I knew we’d be close. We all mixed across disciplines. Friday bled into Saturday into Sunday. I miss that energy."
While Enninful may seem nostalgic, he is far from alone. Recently, a wistful romanticisation of the 1990s has grown intense. Yet since that time, Enninful believes a profound shift. "I believe, we’re less tolerant now than we were in the 90s," he says. "It’s not even this country – it’s everywhere."
This shift is increasingly evident: the resurgence of populist movements, the backlash against social awareness, and the reinforcement of narrow beauty standards. In place of the hope of the Blair era, currently a different political force looms as a potential leader. Furthermore, the Union Jack, once an emblem of Cool Britannia, has become contentious again.
In Enninful's view, the antidote has long been to celebrate culture in all its multifaceted forms. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a diverse array of cultural icons from politics.
"Those in a position of influence should wield it," he says, discussing those editorial decisions. "Everyone talks about immigration; I wouldn't be here if Britain were not a lenient country, if it did not offer my family a refuge and an education. That’s the Britain I believed in. I trust this moment will fade."
He takes comfort in the younger generation: "They are far more conscious than we were. They discuss implicit prejudice – I didn't even know what that was."
The beginnings of his career would define a groundbreaking career characterised by fearlessness and inclusivity. Enninful broke barriers as the first male, first Black editor, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His time featured diverse covers showcasing people of diverse backgrounds, curvy models, older individuals, and individuals from varied communities. Critically, sales increased.
"When you ignore large portions of the population, it’s not just that you’re not being inclusive – it’s a poor strategy," he explains.
He has since founded his agency EE72 and its accompanying magazine, 72, his first major project since moving on from his former post. He states his aim to continue being a "change-maker".
"I constantly interrogate the conventional wisdom. I was raised in a place where everybody was black – the doctors, the attorneys, the leader. Then we arrived in England, with nothing, and I was a minority. I was painfully reserved. My teachers said I’d never amount to anything. Me and my brothers were stopped by the police the suspicion laws … those experiences gave me a unique perspective on the inside and the outside."
In contrast to the popular image of fashion editors as loud and temperamental, Enninful is measured in tone and exudes calm. His journey has involved adversity, including publicly shared periods of depression and addiction.
He has also undergone serious health challenges, having undergone several surgeries on his eyes, now leaving him with partial sight. "I endured such a difficult period for two years, away from work, anxious I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I thought, if this ever is over, 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."
This drive to be defined narrowly has propelled him away from the realm that built his career. He is now organising a significant 1990s exhibition at Tate Britain, featuring work by a group of influential artists and photographers from the era. The show, he explains, aims to explore the decade's artistic collaboration – and spotlight those who did not receive a spotlight at the time.
"The establishment didn't always celebrate the truly innovative creators because they lacked the expected background," he observes.
The magazine 72 itself uses a different strategy, eschewing traditional advertising in favour of partnership-based projects. "Our approach is, what can we create collaboratively? Is it an experience, a series? The magazine is a piece within a larger creative platform."
Today, Enninful stands as one of the world's most powerful creative power brokers. His story, he states, is a demonstration to the power of defying expectations.
How would the younger Edward think of the Edward of today? He chuckles. "He would be astonished, but he’d be pleased. At that time I was a rebel. I never imagined institutions like Tate were a place for someone like me."
He pauses. "Nothing is assumed. We were displaced, we left our homeland. I came close to losing my vision. So there is no room for fear. People have counted me out my entire life. But I am unstoppable once I’ve made up my mind to do something."
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