A chance encounter during a tube journey in 1988 changed forever the course of a teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the city's vibrant 1990s creative scene, progressing from model to stylist and, while still a teenager, becoming the style editor of i-D magazine.
"That time was the zenith of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I knew we’d be close. We all hung out across disciplines. Friday became Saturday into Sunday. I miss that energy."
While Enninful may seem wistful, he is far from alone. In recent times, a longing look back of the 1990s has reached fever pitch. Yet since that time, Enninful believes a noticeable regression. "I believe, we’re less accepting now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s a global phenomenon."
A Perceived Regression
This regression is hard to ignore: the rise of populist movements, the pushback against so-called "wokeness", and the reinforcement of Eurocentric beauty standards. In place of the hope of the Blair era, today a different political figure looms as a possible leader. Even, the British flag, once an badge of national pride, has sparked debate once more.
According to Enninful, the response has long been to celebrate culture in all its multifaceted forms. 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.
"People with a voice should employ it," he says, referring to those publishing choices. "People often debate about immigration; I could not have had this life if Britain were not a lenient country, if it hadn't given my family a home and an opportunity. That’s the Britain I believed in. I hope this phase will pass."
Hope in the Next Generation
He takes comfort in the next generation: "They are far more conscious than we were. They analyse unconscious bias – I was not even aware what that was."
His formative years would define a pioneering career built on fearlessness and diversity. 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 diverse covers showcasing people of diverse backgrounds, curvy models, an octogenarian, and people from varied communities. Critically, sales rose.
"To overlook vast segments of the population, it’s more than that you’re not being inclusive – it’s bad for business," he explains.
Launching a Creative Venture
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 "disruptor".
"I constantly interrogate the status quo. I was brought up in a place where Black professionals were the norm – the physicians, the attorneys, the president. Then we came to England, with nothing, and I found myself on the margins. I was incredibly timid. My teachers declared I’d achieve nothing. Me and my brothers were harassed under the Sus laws … those experiences gave me a unique perspective both an insider and outsider."
In contrast to the stereotype of fashion editors as brash and highly strung, Enninful is measured in tone and exudes calm. His life has involved hardship, including openly discussed battles with depression and substance use.
He has also endured serious health challenges, having had multiple operations on his eyes, now leaving him with impaired eyesight. "I was in such a time of fear for two years, not working, terrified I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I thought, if this ever is over, I’m just going to do everything that I was so afraid to do. I’m not going to restrict myself to just being an editor or a fashion person."
A Foray into Curation
This drive to fit into a box has inspired him beyond the industry that built his career. He is now curating a significant 1990s exhibition at Tate Britain, featuring work by a host of pivotal artists and photographers from the era. The show, he notes, aims to explore the decade's creative cross-pollination – and spotlight those who weren't given adequate attention at the time.
"The establishment often failed to celebrate the most relevant talents because they lacked the right pedigree," he states.
The magazine 72 itself uses a novel strategy, forgoing traditional advertising in favour of creative collaborations. "We ask, what can we achieve in partnership? Is it an experience, a series? The magazine is one component of a greater ecosystem."
A Testament to Resilience
Today, Enninful is regarded as one of the world's most powerful cultural influencers. His journey, he states, is a testament to the power of pursuing your passions.
What would the Edward of the 90s react to the man he has become? He smiles. "He’d be in shock, but he’d be pleased. Back then I was a rebel. I never imagined institutions like Tate were within my reach."
He pauses. "Gratitude is key. We were displaced, we left our homeland. I almost lost my vision. So fear isn't an option. People have underestimated me my whole career. But no obstacle is too great once I’ve made up my mind to do something."
