A chance encounter while riding the tube in 1988 altered the trajectory of a young Ghanaian arrival to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the London's buzzing 1990s cultural landscape, evolving from mannequin to stylist and, by the age of 18, becoming the fashion director of the iconic i-D.
"That era was the height of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I knew we’d be kindred spirits. We all hung out across disciplines. Friday became Saturday into Sunday. I yearn for that rawness."
Although Enninful appears sentimental, he is in good company. Recently, a wistful romanticisation of the 1990s has reached fever pitch. Yet in the intervening decades, Enninful perceives a noticeable regression. "In my view, we’re more divided now than we were in the 90s," he observes. "This isn't just this country – it’s worldwide."
This shift is hard to ignore: the rise of nationalist groups, the pushback against social awareness, and the reassertion of traditional beauty standards. Replacing the optimism of the previous decade, today a more divisive political force appears as a possible leader. Even, the British flag, once an emblem of cultural optimism, has returned as a polarising symbol.
According to Enninful, the response has consistently been to promote culture in all its variety. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a wide range of influential figures from music.
"Individuals with a platform should employ it," he comments, explaining those publishing choices. "People often debate about immigration; I wouldn't be here if Britain were not a welcoming country, if it did not offer my family a refuge and an opportunity. That’s the Britain I cherished. I believe this period will end."
He takes comfort in the younger generation: "They are far more conscious than we were. They analyse unconscious bias – I didn't even know what that was."
The beginnings of his career would shape a trailblazing career marked by boldness and diversity. Enninful made history as the first man, first black man, first openly gay person, and first disabled Black gay man to lead at British Vogue. His tenure featured diverse covers showcasing models of colour, curvy models, an octogenarian, and people from all walks of life. Critically, sales increased.
"To overlook huge sections of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he states.
He has since founded his new venture EE72 and its flagship publication, 72, his premier initiative since leaving his previous role. He expresses a desire to continue being a "innovator".
"I’ve always questioned the status quo. I was raised in a place where Black professionals were the norm – the doctors, the attorneys, the leader. Then we came to England, without funds, and I found myself on the margins. I was incredibly timid. My teachers declared I’d never amount to anything. Me and my brothers were subject to police stops the suspicion laws … this duality gave me a dual identity on the inside and the outside."
In contrast to the popular image of industry figures as brash and highly strung, Enninful is softly spoken and exudes calm. His journey has included its share of adversity, including openly discussed battles with mental health and substance use.
He has also endured serious health challenges, having undergone several surgeries on his eyes, leading to partial sight. "I endured such a dark place for two years, away from work, fearing I was going to go blind. It’s similar to PTSD; you just live in fear 24/7. I thought, if this ever ends, I’m just going to embrace every opportunity that I was so afraid 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 outside the realm that established him. He is now putting together a significant 1990s exhibition at Tate Britain, showcasing work by a host of influential artists and photographers from the era. The show, he says, aims to evoke the decade's artistic collaboration – and highlight those who did not receive a spotlight at the time.
"Institutions often failed to celebrate the right artists because they lacked the traditional credentials," he states.
This project itself operates on a unique approach, eschewing traditional advertising in favour of creative collaborations. "Our approach is, what can we create collaboratively? Is it an event, a podcast? The magazine is part of a greater ecosystem."
Now, Enninful operates as one of the world's most powerful industry leaders. His story, he feels, is a testament to the power of following your instincts.
What would the younger Edward think of the man he has become? He chuckles. "He would be astonished, but he’d be impressed. Back then I was sceptical of institutions. I didn't think institutions like Tate were necessarily for me."
He pauses. "Nothing is assumed. We lost our home, we fled our country. I nearly lost my vision. So fear isn't an option. People have counted me out my entire life. But I am unstoppable once I’ve decided to do something."
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