A serendipitous meeting on the London Underground in 1988 transformed the path of a young Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was rapidly ushered into the London's buzzing 1990s creative scene, evolving from model to stylist and, before turning twenty, becoming the style editor of i-D magazine.
"It was the peak of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I understood we’d be great friends. We all socialised across disciplines. Friday bled into Saturday into Sunday. I miss that rawness."
Although Enninful appears sentimental, he is far from alone. Lately, a fond idealisation of the 1990s has become pervasive. Yet over the last thirty years, Enninful perceives a significant change. "I believe, we’re more divided now than we were in the 90s," he remarks. "This isn't just this country – it’s everywhere."
A Cultural Backslide
This shift is increasingly evident: the growth of nationalist groups, the reaction against social awareness, and the reassertion of Eurocentric beauty standards. In place of the optimism of the Blair era, today a different political figure looms as a possible leader. Furthermore, the British flag, once an emblem of cultural optimism, has sparked debate once more.
According to Enninful, the response has always been to celebrate culture in all its multifaceted forms. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, showcasing a wide range of cultural icons from literature.
"Individuals with a platform should use it," he asserts, discussing those publishing choices. "Everyone talks about immigration; I would not be in this position if Britain hadn't been a lenient country, if it hadn't given my family a home and an opportunity. That’s the Britain I always loved. I trust this phase will fade."
A New Wave of Consciousness
He draws solace in the younger generation: "They’re much more aware than we were. They analyse unconscious bias – I didn't even know what that was."
Those early experiences would shape a groundbreaking career built on fearlessness and diversity. Enninful made history as the first man, first Black editor, first gay man, and first disabled Black gay man to lead at British Vogue. His time featured historic front pages showcasing people of diverse backgrounds, plus-sized women, older individuals, and people from varied communities. Importantly, sales rose.
"To overlook large portions of the population, it’s more than that you’re not being inclusive – it’s commercially unwise," he emphasises.
Beyond the Magazine World
He has since founded his creative company EE72 and its accompanying magazine, 72, his key endeavour since moving on from his previous role. He states his aim to continue being a "change-maker".
"My nature is to challenge the conventional wisdom. I was raised in a place where Black professionals were the norm – the physicians, the attorneys, the leader. Then we arrived in England, with nothing, and I found myself on the margins. I was very shy. My teachers declared I’d achieve nothing. Me and my brothers were harassed under the Sus laws … those experiences gave me a dual identity on the inside and the outside."
In contrast to the stereotype of fashion editors as brash and temperamental, Enninful is measured in tone and projects peace. His journey has not been immune to hardship, including publicly shared struggles with depression and substance use.
He has also undergone significant health challenges, having had multiple operations on his eyes, resulting in partial sight. "I was in such a time of fear for two years, away from work, terrified I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I vowed, if this ever is over, I’m just going to do everything that I was so fearful to do. I’m not going to confine myself to just being an editor or a figure in fashion."
Curating a Cultural Era
This determination to be defined narrowly has inspired him beyond the realm that established him. He is now organising a major 1990s exhibition at Tate Britain, featuring work by a roster of pivotal artists and photographers from the era. The show, he notes, aims to capture the decade's artistic collaboration – and give platform to those who did not receive adequate attention at the time.
"Institutions sometimes neglected to celebrate the right artists because they lacked the expected background," he states.
This project itself functions with a novel approach, forgoing traditional advertising in favour of integrated partnerships. "Our approach is, what can we create collaboratively? Is it an event, a series? The magazine is a piece within a broader vision."
Looking Forward Without Fear
Currently, Enninful stands as one of the world's most influential cultural influencers. His path, he believes, is a testament to the power of defying expectations.
What would the younger Edward react to the Edward of today? He laughs heartily. "It would be a surprise, but he’d be proud. At that time I was anti-establishment. I would not have believed institutions like Tate were within my reach."
He reflects. "Nothing is assumed. We were displaced, we fled our country. I almost lost my vision. So there is no room for fear. People have doubted me my whole career. But no obstacle is too great once I’ve made up my mind to do something."
