A serendipitous meeting while riding the tube in 1988 altered the course of a teenage Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was quickly drawn into the London's buzzing 1990s creative scene, evolving from model to stylist and, while still a teenager, becoming the fashion director of i-D magazine.
"It was the height of the Britart scene – Tracey Emin, Jay Jopling. I encountered 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 became Saturday into Sunday. I miss that spontaneity."
While Enninful may seem nostalgic, he is in good company. Lately, a fond idealisation of the 1990s has become pervasive. Yet since that time, Enninful feels a significant change. "I feel, we’re less accepting now than we were in the 90s," he observes. "This isn't just this country – it’s everywhere."
This regression is difficult to overlook: the rise of nationalist groups, the pushback against progressive values, and the reinforcement of narrow beauty standards. Where once there was the hope of the Blair era, today a more divisive political figure appears as a possible leader. Furthermore, the Union Jack, once an emblem of cultural optimism, has become contentious again.
According to Enninful, the solution has consistently been to celebrate culture in all its variety. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a diverse array of prominent faces from literature.
"Those in a position of influence should use it," he asserts, discussing those publishing choices. "People often debate about immigration; I would not be in this position if Britain were not a lenient country, if it refused my family a home and an opportunity. That’s the Britain I always loved. I hope this moment will pass."
He takes comfort in the next generation: "They’re much more aware than we were. They analyse implicit prejudice – I was not even aware what that was."
The beginnings of his career would shape a groundbreaking career characterised by 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 landmark covers showcasing models of colour, plus-sized women, older individuals, and individuals from all walks of life. Significantly, sales increased.
"Ignoring large portions of the population, it’s more than that you’re failing to represent – it’s commercially unwise," he states.
He has recently launched his creative company EE72 and its flagship publication, 72, his first major project since departing his previous role. He states his aim to continue being a "change-maker".
"My nature is to challenge the established norms. I was brought up in a place where the majority was Black – the physicians, the lawyers, the president. Then we arrived in England, with nothing, and I was a minority. I was painfully reserved. My teachers predicted I’d have no future. Me and my brothers were subject to police stops the Sus laws … this duality gave me a dual identity between worlds."
In contrast to the stereotype of fashion editors as brash and temperamental, Enninful is measured in tone and exudes calm. His life has included its share of hardship, including publicly shared battles with mental health and addiction.
He has also faced significant health challenges, having had multiple operations on his eyes, leading to partial sight. "I was in such a dark place for two years, away from work, terrified I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I prayed, if this ever is over, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to confine myself to just being an editor or a fashion person."
This drive to fit into a box has propelled him beyond the industry that established him. He is now curating a significant 1990s exhibition at Tate Britain, featuring work by a roster of influential artists and photographers from the era. The show, he explains, aims to explore the decade's creative cross-pollination – and give platform to those who lacked adequate attention at the time.
"The establishment didn't always shine a light on the right artists because they lacked the expected background," he states.
This project itself operates on a unique strategy, forgoing traditional advertising in favour of integrated partnerships. "Our approach is, what can we do together? Is it an experience, a podcast? The magazine is part of a larger creative platform."
Currently, Enninful stands as one of the world's most powerful industry leaders. His path, he states, is a proof to the power of pursuing your passions.
What would the Edward of the 90s make of the his current self? He chuckles. "He would be astonished, but he’d be impressed. Back then I was sceptical of institutions. I didn't think institutions like Tate were within my reach."
He adds. "Gratitude is key. We were displaced, we fled our country. I came close to losing my vision. So there is no room for fear. People have counted me out my entire life. But no obstacle is too great once I’ve decided to do something."
Elena Vance is a digital strategist and creative director with over a decade of experience in transforming brands through innovative design.