An unexpected discovery during a tube journey in 1988 changed forever the path of a young Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the city's buzzing 1990s artistic milieu, evolving from mannequin to stylist and, by the age of 18, becoming the style editor of the publication i-D.
"That era was the zenith of the YBA movement – 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 socialised across disciplines. Friday rolled into Saturday into Sunday. I long for that energy."
If Enninful sounds wistful, he is not the only one. Recently, a longing look back of the 1990s has grown intense. 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 says. "This isn't just this country – it’s worldwide."
This change is hard to ignore: the growth of far-right politics, the reaction against progressive values, and the reassertion of traditional beauty standards. In place of the optimism of the late 90s, now a different political personality looms as a possible leader. Even, the Union Jack, once an badge of cultural optimism, has returned as a polarising symbol.
In Enninful's view, the response has long been to celebrate culture in all its diversity. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a diverse array of influential figures from literature.
"Those in a position of influence should employ it," he asserts, referring to those editorial decisions. "Everyone talks about immigration; I would not be in this position if Britain were not a open country, if it refused my family a refuge and an opportunity. That’s the Britain I cherished. I hope this phase will fade."
He draws solace in the next generation: "They’re much more aware than we were. They discuss unconscious bias – I was not even aware what that was."
His formative years would shape a pioneering career built on boldness and representation. Enninful set a precedent as the first man, first Black editor, first gay man, and first disabled Black gay man to lead at British Vogue. His leadership featured diverse covers showcasing Black models, curvy models, an octogenarian, and people from varied communities. Critically, sales increased.
"Ignoring huge sections of the population, it’s more than that you’re not being inclusive – it’s a poor strategy," he states.
He has since founded his creative company EE72 and its accompanying magazine, 72, his key endeavour since leaving his previous role. He expresses a desire to continue being a "innovator".
"I constantly interrogate the established norms. I was born and raised in a place where Black professionals were the norm – the physicians, the attorneys, the leader. Then we arrived in England, without funds, and I was a minority. I was painfully reserved. My teachers declared I’d have no future. Me and my brothers were stopped by the police the Sus laws … all that gave me a unique perspective both an insider and outsider."
Defying the stereotype of industry figures as loud and highly strung, Enninful is softly spoken and exudes calm. His life has not been immune to hardship, including well-documented periods of depression and addiction.
He has also undergone serious health challenges, having undergone several surgeries on his eyes, leading to partial sight. "I was in such a time of fear for two years, away from work, fearing I was going to lose my sight. It’s comparable 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 scared to do. I’m not going to limit myself to just being an editor or a fashion person."
This determination to fit into a box has led him away from the world that established him. He is now putting together a seminal 1990s exhibition at Tate Britain, bringing together work by a group of influential artists and photographers from the era. The show, he says, aims to capture the decade's creative cross-pollination – and highlight those who lacked adequate attention at the time.
"Galleries sometimes neglected to promote the truly innovative creators because they lacked the right pedigree," he observes.
This project itself functions with a unique approach, forgoing traditional advertising in favour of creative collaborations. "Our approach is, what can we create collaboratively? Is it an event, a series? The magazine is a piece within a larger creative platform."
Today, Enninful operates as one of the world's most respected industry leaders. His story, he believes, is a testament to the power of defying expectations.
How would the Edward of the 90s think of the Edward of today? He chuckles. "It would be a surprise, but he’d be proud. In those days I was a rebel. I never imagined institutions like Tate were within my reach."
He reflects. "I never take anything for granted. We were displaced, we fled our country. I came close to losing my vision. So fear is not a factor. People have doubted me my entire life. But nothing can stop me once I’ve set my intention to do something."
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