A serendipitous meeting during a tube journey in 1988 transformed the trajectory of a young Ghanaian arrival to Britain. Spotted by a talent scout, Edward Enninful was quickly drawn into the capital's electric 1990s artistic milieu, evolving from model to stylist and, by the age of 18, becoming the fashion director of the publication i-D.
"That era was the peak of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I knew we’d be great friends. We all hung out across disciplines. Friday bled into Saturday into Sunday. I long for that rawness."
If Enninful sounds wistful, he is in good company. Lately, a wistful romanticisation of the 1990s has grown intense. Yet over the last thirty years, Enninful believes a noticeable regression. "I believe, we’re less accepting now than we were in the 90s," he observes. "This isn't just this country – it’s everywhere."
This change is difficult to overlook: the resurgence of nationalist groups, the pushback against so-called "wokeness", and the return of traditional beauty standards. In place of the optimism of the late 90s, currently a more divisive political figure stands as a potential leader. Even, the British flag, once an emblem of national pride, has become contentious again.
According to Enninful, the antidote has always been to celebrate culture in all its variety. This was the driving force behind his seminal issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a wide range of cultural icons from politics.
"Those in a position of influence should use it," he comments, discussing those editorial decisions. "Everyone talks about immigration; I would not be in this position if Britain hadn't been a welcoming country, if it hadn't given my family a home and an opportunity. That’s the Britain I believed in. I believe this period will fade."
He takes comfort in the younger generation: "They’re much more aware than we were. They analyse systemic issues – I had no concept what that was."
His formative years would shape a pioneering career marked by boldness and diversity. Enninful broke barriers as the first man, first black man, first openly gay person, and first disabled gay man of colour to lead at British Vogue. His time featured diverse covers showcasing models of colour, plus-sized women, an octogenarian, and individuals from varied communities. Significantly, sales grew.
"To overlook vast segments of the population, it’s not just that you’re excluding people – it’s commercially unwise," he emphasises.
He has established his creative company EE72 and its accompanying magazine, 72, his premier initiative since moving on from his former post. He expresses a desire to continue being a "change-maker".
"My nature is to challenge the established norms. I was brought up in a place where everybody was black – the physicians, the lawyers, the leader. Then we arrived in England, without funds, and I found myself on the margins. I was incredibly timid. My teachers said I’d have no future. Me and my brothers were stopped by the police the suspicion laws … this duality gave me a sense of being both an insider and outsider."
Contrary to the popular image of fashion editors as loud and temperamental, Enninful is calm and projects peace. His path has involved hardship, including publicly shared struggles with depression and substance use.
He has also endured serious health issues, 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 similar to PTSD; you just live in fear 24/7. I vowed, if this ever is over, I’m just going to embrace every opportunity 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 refusal to be typecast has inspired him beyond the realm that made his name. He is now organising a seminal 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 highlight those who did not receive adequate attention at the time.
"Galleries sometimes neglected to celebrate the right artists because they did not have the right pedigree," he states.
This venture itself operates on a different strategy, eschewing traditional advertising in favour of integrated partnerships. "Our approach is, what can we create collaboratively? Is it an experience, a series? The magazine is a piece within a greater ecosystem."
Currently, Enninful operates as one of the world's most influential creative power brokers. His story, he believes, is a demonstration to the power of defying expectations.
What would the younger Edward think of the his current self? He chuckles. "It would be a surprise, but he’d be proud. In those days I was a rebel. I didn't think institutions like Tate were a place for someone like me."
He reflects. "Gratitude is key. We fled, we left our homeland. I nearly lost my vision. So fear isn't an option. People have counted me out my entire life. But I am unstoppable once I’ve decided to do something."
Elena Hartwell is a multidisciplinary artist and educator passionate about fostering creative communities in London.