An unexpected discovery while riding the tube in 1988 transformed the trajectory of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the London's buzzing 1990s artistic milieu, progressing from model to stylist and, while still a teenager, becoming the fashion director of the publication i-D.
"It was the peak of the Britart scene – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I felt we’d be close. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I miss that energy."
If Enninful sounds sentimental, he is not the only one. In recent times, a longing look back of the 1990s has reached fever pitch. Yet over the last thirty years, Enninful believes a significant change. "I believe, we’re less accepting now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s worldwide."
A Cultural Backslide
This shift is difficult to overlook: the rise of far-right politics, the pushback against social awareness, and the return of traditional beauty standards. Where once there was the optimism of the previous decade, today a more divisive political figure stands 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 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 celebration of modern Britain, including a wide range of prominent faces from art.
"People with a voice should employ it," he comments, discussing those editorial decisions. "Everyone talks about immigration; I would not be in this position if Britain were not a welcoming country, if it refused my family a home and an opportunity. That’s the Britain I always loved. I hope this period will pass."
The Younger Generation's Awareness
He takes comfort in the younger generation: "Their awareness is greater than we were. They talk about implicit prejudice – I had no concept what that was."
Those early experiences would forge a pioneering career marked by fearlessness and inclusivity. Enninful broke barriers as the first male, first Black editor, first gay man, and first disabled Black gay man to assume the editorship at British Vogue. His tenure featured historic front pages showcasing models of colour, curvy models, an octogenarian, and individuals from varied communities. Critically, sales rose.
"Ignoring large portions of the population, it’s more than that you’re excluding people – it’s commercially unwise," he states.
Launching a Creative Venture
He has recently launched 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 "change-maker".
"I’ve always questioned the status quo. I was brought up in a place where Black professionals were the norm – the doctors, the attorneys, the leader. Then we arrived in England, without funds, and I found myself on the margins. I was incredibly timid. My teachers said I’d have no future. Me and my brothers were stopped by the police the suspicion 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 measured in tone and projects peace. His journey has involved hardship, including publicly shared battles with mental health and substance use.
He has also endured significant health challenges, having had multiple operations on his eyes, leading to partial sight. "I endured such a time of fear for two years, not working, anxious I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I vowed, if this ever passes, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to restrict myself to just being an editor or a fashion person."
Curating a Cultural Era
This drive to be defined narrowly has inspired him beyond the industry that made his name. He is now organising a major 1990s exhibition at Tate Britain, featuring work by a group of pivotal artists and photographers from the era. The show, he says, aims to explore the decade's interdisciplinary energy – and highlight those who lacked adequate attention at the time.
"Institutions didn't always promote the most relevant talents because they lacked the traditional credentials," he observes.
The magazine 72 itself uses a unique business model, eschewing traditional advertising in favour of integrated partnerships. "The question is, what can we achieve in partnership? Is it an event, a series? The magazine is a piece within a greater ecosystem."
An Unstoppable Drive
Currently, Enninful operates as one of the world's most respected industry leaders. His path, he believes, is a testament to the power of pursuing your passions.
What would the Edward of the 90s think of the man he has become? He smiles. "He would be astonished, but he’d be proud. Back then I was a rebel. I never imagined institutions like Tate were a place for someone like me."
He adds. "Gratitude is key. We lost our home, 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 set my intention to do something."
