A serendipitous meeting during a tube journey in 1988 changed forever the trajectory of a young Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was swiftly pulled into the city's vibrant 1990s cultural landscape, moving from mannequin to stylist and, while still a teenager, becoming the style editor of the publication i-D.
"That time was the peak of the YBA movement – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I felt we’d be great friends. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I miss that energy."
If Enninful sounds nostalgic, he is in good company. Recently, a fond idealisation of the 1990s has reached fever pitch. However over the last thirty years, Enninful believes a significant change. "I feel, we’re less tolerant now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s a global phenomenon."
This change is increasingly evident: the growth of far-right politics, the reaction against so-called "wokeness", and the reinforcement of traditional beauty standards. In place of the hope of the Blair era, now a more divisive political figure appears as a potential leader. Furthermore, the Union Jack, once an symbol of Cool Britannia, has sparked debate once more.
In Enninful's view, the response has long been to celebrate culture in all its variety. This was the core philosophy behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a broad spectrum of cultural icons from art.
"People with a voice should use it," he says, explaining those publishing choices. "Everyone talks about immigration; I could not have had this life if Britain hadn't been a lenient country, if it refused my family a home and an opportunity. That’s the Britain I believed in. I trust this phase will pass."
He draws solace in the youth of today: "They’re much more aware than we were. They discuss systemic issues – I didn't even know what that was."
His formative years would forge a pioneering career marked by boldness and inclusivity. Enninful broke barriers as the first male, first black man, first gay man, and first disabled Black gay man to take the helm at British Vogue. His tenure featured diverse covers showcasing Black models, plus-sized women, older individuals, and people from all walks of life. Critically, sales grew.
"Ignoring huge sections of the population, it’s not just that you’re not being inclusive – it’s a poor strategy," he states.
He has since founded his new venture EE72 and its accompanying magazine, 72, his first major project since leaving his former post. He expresses a desire to continue being a "change-maker".
"I’ve always questioned the established norms. I was born and raised in a place where Black professionals were the norm – the doctors, the lawyers, the leader. Then we arrived in England, penniless, and I became the 'other'. I was painfully reserved. My teachers said I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … this duality gave me a sense of being between worlds."
Defying the caricature of industry figures as loud and highly strung, Enninful is measured in tone and radiates serenity. His path has involved adversity, including well-documented battles with depression and substance use.
He has also endured significant health challenges, having undergone several surgeries on his eyes, now leaving him with impaired eyesight. "I endured such a difficult period for two years, not working, anxious 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 passes, 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 figure in fashion."
This drive to be typecast has led him away from the world that established him. He is now putting together a significant 1990s exhibition at Tate Britain, bringing together work by a group of influential artists and photographers from the era. The show, he notes, aims to explore the decade's artistic collaboration – and spotlight those who weren't given due recognition at the time.
"Institutions sometimes neglected to shine a light on the truly innovative creators because they weren't of the traditional credentials," he comments.
This project itself functions with a different business model, forgoing traditional advertising in favour of integrated partnerships. "We ask, what can we achieve in partnership? Is it an event, a series? The magazine is a piece within a larger creative platform."
Currently, Enninful operates as one of the world's most influential cultural influencers. His journey, he states, is a proof to the power of following your instincts.
What would the Edward of the 90s make of the man he has become? He chuckles. "He’d be in shock, but he’d be pleased. In those days I was a rebel. I didn't think institutions like Tate were within my reach."
He pauses. "Nothing is assumed. We fled, we fled our country. I came close to losing my vision. So fear isn't an option. People have underestimated me my whole career. But I am unstoppable once I’ve decided to do something."
A tech analyst and business strategist with over a decade of experience in global markets, specializing in digital transformation and innovation.
