An unexpected discovery during a tube journey in 1988 changed forever the trajectory of a teenage Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the capital's vibrant 1990s creative scene, evolving from mannequin to stylist and, by the age of 18, becoming the style editor of the iconic i-D.
"It was the height of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I understood we’d be close. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I long for that rawness."
Although Enninful appears wistful, he is not the only one. Lately, a longing look back of the 1990s has grown intense. Yet in the intervening decades, Enninful feels a profound shift. "I believe, we’re less tolerant now than we were in the 90s," he says. "The issue extends beyond this country – it’s a global phenomenon."
This regression is hard to ignore: the resurgence of populist movements, the pushback against social awareness, and the reassertion of Eurocentric beauty standards. Replacing the hope of the previous decade, now a more divisive political force appears as a possible leader. Even, the British flag, once an symbol of Cool Britannia, has returned as a polarising symbol.
In Enninful's view, the solution has long been to promote culture in all its diversity. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a diverse array 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 hadn't been a open country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I cherished. I trust this moment will end."
He draws solace in the next generation: "They’re much more aware than we were. They discuss unconscious bias – I was not even aware what that was."
The beginnings of his career would shape a trailblazing career characterised by fearlessness and representation. Enninful set a precedent as the first man, first black man, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His tenure featured historic front pages showcasing people of diverse backgrounds, curvy models, an octogenarian, and individuals from all walks of life. Significantly, sales grew.
"To overlook huge sections of the population, it’s not just that you’re not being inclusive – it’s bad for business," he explains.
He has established his agency EE72 and its flagship publication, 72, his premier initiative since moving on from his previous role. He expresses a desire to continue being a "disruptor".
"My nature is to challenge the status quo. I was brought up in a place where the majority was Black – the physicians, the lawyers, the leader. Then we came to England, with nothing, and I found myself on the margins. I was painfully reserved. My teachers said I’d achieve nothing. Me and my brothers were subject to police stops the Sus laws … this duality gave me a unique perspective on the inside and the outside."
Contrary to the caricature of fashion editors as brash and highly strung, Enninful is measured in tone and radiates serenity. His journey has included its share of adversity, including publicly shared periods of mental health and addiction.
He has also faced serious health issues, having undergone several surgeries on his eyes, leading to limited vision. "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 live in fear 24/7. I prayed, if this ever passes, I’m just going to pursue all that I was so fearful to do. I’m not going to limit myself to just being an editor or a fashion person."
This drive to be defined narrowly has led him beyond the world that built his career. He is now organising a significant 1990s exhibition at Tate Britain, bringing together work by a group of defining artists and photographers from the era. The show, he says, aims to capture the decade's artistic collaboration – and spotlight those who did not receive due recognition at the time.
"Galleries sometimes neglected to promote the most relevant talents because they did not have the traditional credentials," he observes.
This project itself uses a unique business model, rejecting traditional advertising in favour of creative collaborations. "The question is, what can we do together? Is it an event, a podcast? The magazine is part of a broader vision."
Currently, Enninful operates as one of the world's most powerful industry leaders. His story, he states, is a testament to the power of pursuing your passions.
What would the younger Edward think of the his current self? He chuckles. "It would be a surprise, but he’d be proud. At that time I was anti-establishment. I didn't think institutions like Tate were a place for someone like me."
He pauses. "Gratitude is key. We fled, we fled our country. I nearly lost my vision. So fear is not a factor. People have counted me out my entire life. But nothing can stop me once I’ve made up my mind to do something."
Marlon Vance is a seasoned sports analyst with over a decade of experience in betting markets, specializing in data-driven predictions and strategy development.
