A serendipitous meeting on the London Underground in 1988 altered the trajectory of a young Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the London's electric 1990s cultural landscape, moving from model to stylist and, before turning twenty, becoming the style editor of the iconic i-D.
"It was the peak of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I knew we’d be close. We all socialised across disciplines. Friday became Saturday into Sunday. I yearn for that rawness."
While Enninful may seem sentimental, he is in good company. Lately, a longing look back of the 1990s has become pervasive. But over the last thirty years, Enninful believes a noticeable regression. "I feel, we’re more divided now than we were in the 90s," he remarks. "It’s not even this country – it’s worldwide."
This regression is hard to ignore: the resurgence of nationalist groups, the backlash against social awareness, and the reinforcement of Eurocentric beauty standards. In place of the hope of the late 90s, currently a more divisive political personality looms as a potential leader. Even, the Union Jack, once an symbol of national pride, has returned as a polarising symbol.
In Enninful's view, the solution has consistently been to champion culture in all its multifaceted forms. This was the guiding principle behind his seminal issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a diverse array of cultural icons from politics.
"Those in a position of influence should employ it," he comments, referring to those publishing choices. "Everyone talks about immigration; I would not be in this position if Britain were not a open country, if it hadn't given my family a refuge and an education. That’s the Britain I cherished. I hope this moment will pass."
He takes comfort in the youth of today: "They are far more conscious than we were. They discuss systemic issues – I had no concept what that was."
Those early experiences would define a pioneering career marked by boldness and inclusivity. Enninful broke barriers as the first man, first black man, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His leadership featured historic front pages showcasing people of diverse backgrounds, curvy models, an octogenarian, and people from varied communities. Significantly, sales increased.
"Ignoring huge sections of the population, it’s not just that you’re failing to represent – it’s commercially unwise," he explains.
He has since founded his agency EE72 and its flagship publication, 72, his first major project since leaving his previous role. He states his aim to continue being a "innovator".
"My nature is to challenge the established norms. I was born and raised in a place where Black professionals were the norm – the doctors, the lawyers, the leader. Then we arrived in England, without funds, and I became the 'other'. I was incredibly timid. My teachers predicted I’d never amount to anything. Me and my brothers were harassed under the suspicion laws … those experiences gave me a unique perspective on the inside and the outside."
In contrast to the popular image of industry figures as loud and temperamental, Enninful is calm and exudes calm. His life has included its share of adversity, including publicly shared battles with depression and substance use.
He has also faced serious health issues, having undergone several surgeries on his eyes, now leaving him with limited vision. "I endured such a difficult period for two years, away from work, fearing I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I prayed, if this ever is over, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to restrict myself to just being an editor or a figure in fashion."
This refusal to be typecast has led him beyond the industry that built his career. He is now organising a significant 1990s exhibition at Tate Britain, showcasing work by a roster of influential artists and photographers from the era. The show, he notes, aims to evoke the decade's interdisciplinary energy – and spotlight those who did not receive due recognition at the time.
"The establishment sometimes neglected to shine a light on the right artists because they lacked the traditional credentials," he observes.
This project itself functions with a unique strategy, eschewing traditional advertising in favour of creative collaborations. "The question is, what can we achieve in partnership? Is it an experience, a series? The magazine is a piece within a greater ecosystem."
Today, Enninful stands as one of the world's most respected cultural influencers. His journey, he believes, is a demonstration to the power of pursuing your passions.
How would the Enninful of that era think of the man he has become? He laughs heartily. "It would be a surprise, but he’d be impressed. In those days I was anti-establishment. I never imagined institutions like Tate were necessarily for me."
He adds. "Nothing is assumed. We were displaced, we fled our country. I almost lost my vision. So fear is not a factor. People have doubted me my whole career. But no obstacle is too great once I’ve set my intention to do something."
