A serendipitous meeting on the London Underground in 1988 altered the course of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the London's buzzing 1990s cultural landscape, progressing from model to stylist and, while still a teenager, becoming the fashion director of the publication i-D.
"That time was the peak of the Britart scene – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I understood we’d be kindred spirits. We all mixed across disciplines. Friday bled into Saturday into Sunday. I yearn for that energy."
If Enninful sounds wistful, he is far from alone. Lately, a longing look back of the 1990s has reached fever pitch. But in the intervening decades, Enninful believes a profound shift. "I believe, we’re less accepting now than we were in the 90s," he observes. "This isn't just this country – it’s everywhere."
This change is increasingly evident: the rise of populist movements, the reaction against progressive values, and the reinforcement of narrow beauty standards. In place of the optimism of the previous decade, currently a more divisive political force appears as a potential leader. Furthermore, the British flag, once an symbol of national pride, has sparked debate once more.
For Enninful, the response has consistently been to champion culture in all its variety. This was the guiding principle 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.
"People with a voice should wield it," he says, discussing those editorial decisions. "People often debate about immigration; I would not be in this position if Britain hadn't been a welcoming country, if it refused my family a refuge and an education. That’s the Britain I believed in. I hope this period will end."
He draws solace in the youth of today: "They’re much more aware than we were. They analyse unconscious bias – I was not even aware what that was."
His formative years would shape a trailblazing career marked by fearlessness and diversity. Enninful broke barriers as the first man, first Black editor, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His time featured historic front pages showcasing models of colour, plus-sized women, an octogenarian, and individuals from all walks of life. Critically, sales grew.
"To overlook vast segments of the population, it’s more than that you’re excluding people – it’s a poor strategy," he explains.
He has since founded his agency EE72 and its accompanying magazine, 72, his key endeavour since leaving his previous role. He says he wants to continue being a "disruptor".
"I constantly interrogate the established norms. I was raised in a place where the majority was Black – the doctors, the attorneys, the president. Then we came to England, without funds, and I became the 'other'. I was painfully reserved. My teachers predicted I’d have no future. Me and my brothers were subject to police stops the Sus laws … this duality gave me a unique perspective on the inside and the outside."
In contrast to the popular image of fashion editors as loud and highly strung, Enninful is measured in tone and exudes calm. His journey has not been immune to hardship, including well-documented battles with mental health and substance use.
He has also endured significant health issues, having had multiple operations on his eyes, now leaving him with impaired eyesight. "I endured such a difficult period for two years, not working, fearing I was going to go blind. It’s like PTSD; you just live in fear 24/7. I thought, 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 fashion person."
This drive to be defined narrowly has propelled him beyond the industry that established him. He is now putting together a seminal 1990s exhibition at Tate Britain, featuring work by a roster of influential artists and photographers from the era. The show, he says, aims to evoke the decade's interdisciplinary energy – and spotlight those who lacked adequate attention at the time.
"The establishment often failed to shine a light on the right artists because they did not have the right pedigree," he observes.
The magazine 72 itself operates on a novel approach, rejecting traditional advertising in favour of partnership-based projects. "We ask, what can we create collaboratively? Is it an event, a podcast? The magazine is a piece within a greater ecosystem."
Today, Enninful is regarded as one of the world's most powerful creative power brokers. His journey, he feels, is a testament to the power of pursuing your passions.
How would the younger Edward make of the Edward of today? He chuckles. "He’d be in shock, but he’d be proud. In those days I was a rebel. I never imagined institutions like Tate were a place for someone like me."
He pauses. "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 counted me out my entire life. But nothing can stop me once I’ve set my intention to do something."
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