An unexpected discovery while riding the tube in 1988 changed forever the course of a young Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the London's buzzing 1990s artistic milieu, evolving from mannequin to stylist and, while still a teenager, becoming the style editor of the iconic i-D.
"That time was the peak of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I understood we’d be great friends. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I miss that energy."
While Enninful may seem nostalgic, he is far from alone. Recently, a longing look back of the 1990s has grown intense. But over the last thirty years, Enninful believes a profound shift. "I feel, we’re less accepting now than we were in the 90s," he observes. "The issue extends beyond this country – it’s everywhere."
This shift is hard to ignore: the resurgence of populist movements, the pushback against so-called "wokeness", and the reassertion of traditional beauty standards. Where once there was the hope of the late 90s, currently a more divisive political figure looms as a possible leader. Even, the British flag, once an badge of Cool Britannia, has become contentious again.
In Enninful's view, the response has long been to promote culture in all its diversity. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a wide range of prominent faces from literature.
"People with a voice should wield it," he says, referring to those editorial decisions. "Everyone talks about immigration; I could not have had this life if Britain were not a welcoming country, if it refused my family a refuge and an education. That’s the Britain I cherished. I hope this phase will end."
He takes comfort in the next generation: "They’re much more aware than we were. They discuss systemic issues – I didn't even know what that was."
Those early experiences would forge a pioneering career characterised by fearlessness and representation. Enninful broke barriers as the first man, first black man, first openly gay person, and first disabled Black gay man to lead at British Vogue. His leadership featured diverse covers showcasing Black models, plus-sized women, an octogenarian, and individuals from all walks of life. Importantly, sales rose.
"Ignoring large portions of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he states.
He has established his creative company EE72 and its accompanying magazine, 72, his key endeavour since departing his previous role. He says he wants to continue being a "innovator".
"I’ve always questioned the status quo. I was brought up in a place where everybody was black – the physicians, the lawyers, the leader. Then we arrived in England, with nothing, and I became the 'other'. I was very shy. My teachers declared I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … those experiences gave me a dual identity between worlds."
In contrast to the popular image of fashion editors as loud and temperamental, Enninful is measured in tone and projects peace. His journey has involved hardship, including openly discussed struggles with mental health and substance use.
He has also undergone serious health issues, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I endured such a dark place for two years, not working, terrified I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I prayed, if this ever ends, I’m just going to do everything that I was so afraid to do. I’m not going to limit myself to just being an editor or a fashion person."
This refusal to be typecast has inspired him outside the industry that established him. He is now curating a seminal 1990s exhibition at Tate Britain, showcasing work by a group of defining artists and photographers from the era. The show, he says, aims to capture the decade's artistic collaboration – and highlight those who did not receive a spotlight at the time.
"The establishment sometimes neglected to shine a light on the most relevant talents because they did not have the right pedigree," he comments.
This venture itself functions with a unique business model, forgoing traditional advertising in favour of partnership-based projects. "The question is, what can we achieve in partnership? Is it an experience, a series? The magazine is part of a larger creative platform."
Today, Enninful is regarded as one of the world's most powerful cultural influencers. His path, he believes, is a proof to the power of defying expectations.
How would the Enninful of that era make 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 didn't think institutions like Tate were a place for someone like me."
He pauses. "Gratitude is key. We were displaced, we left our homeland. I nearly 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 decided to do something."
A tech journalist and software developer with over a decade of experience covering AI advancements and cybersecurity trends across Europe.
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