A chance encounter while riding the tube in 1988 altered the course of a young Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was quickly drawn into the London's vibrant 1990s artistic milieu, progressing from mannequin to stylist and, by the age of 18, becoming the style editor of i-D magazine.
"That era was the height of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I knew we’d be close. We all hung out across disciplines. Friday rolled into 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 reached fever pitch. Yet since that time, Enninful perceives a noticeable regression. "I believe, we’re more divided now than we were in the 90s," he says. "The issue extends beyond this country – it’s a global phenomenon."
This shift is difficult to overlook: the rise of far-right politics, the pushback against social awareness, and the reassertion of narrow beauty standards. Where once there was the hope of the Blair era, today a different political force appears as a potential leader. Even, the Union Jack, once an emblem of national pride, has become contentious again.
In Enninful's view, the antidote has long been to champion 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 portrait of modern Britain, showcasing a wide range of influential figures from literature.
"Individuals with a platform should employ it," he comments, discussing those editorial decisions. "There is much discussion about immigration; I could not have had this life if Britain hadn't been a open country, if it did not offer my family a home and an opportunity. That’s the Britain I always loved. I believe this moment will pass."
He draws solace in the younger generation: "They are far more conscious than we were. They discuss systemic issues – I had no concept what that was."
Those early experiences would define a pioneering career marked by fearlessness and diversity. Enninful broke barriers as the first male, first black man, first openly gay person, and first disabled gay man of colour to assume the editorship at British Vogue. His tenure featured historic front pages showcasing people of diverse backgrounds, curvy models, older individuals, and individuals from all walks of life. Critically, sales rose.
"When you ignore vast segments of the population, it’s more than that you’re failing to represent – it’s a poor strategy," he explains.
He has recently launched his new venture EE72 and its flagship publication, 72, his premier initiative since departing his previous role. He states his aim to continue being a "innovator".
"My nature is to challenge the conventional wisdom. I was brought up in a place where everybody was black – the physicians, the attorneys, the president. Then we came to England, without funds, and I was a minority. I was painfully reserved. My teachers declared I’d never amount to anything. Me and my brothers were harassed under the suspicion laws … those experiences gave me a sense of being on the inside and the outside."
Contrary to the stereotype of industry figures as loud and highly strung, Enninful is softly spoken and exudes calm. His path has not been immune to hardship, including openly discussed battles with depression and substance use.
He has also endured serious health issues, having undergone several surgeries on his eyes, leading to impaired eyesight. "I experienced such a difficult period for two years, not working, fearing I was going to go blind. It’s similar to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever is over, I’m just going to do everything that I was so afraid to do. I’m not going to confine myself to just being an editor or a figure in fashion."
This refusal to fit into a box has led him away from the industry that built his career. He is now organising a significant 1990s exhibition at Tate Britain, featuring work by a host of influential artists and photographers from the era. The show, he says, aims to evoke the decade's artistic collaboration – and give platform to those who weren't given adequate attention at the time.
"Institutions didn't always celebrate the right artists because they weren't of the expected background," he observes.
The magazine 72 itself operates on a unique approach, eschewing traditional advertising in favour of creative collaborations. "We ask, what can we do together? Is it an experience, a series? The magazine is one component of a larger creative platform."
Currently, Enninful is regarded as one of the world's most influential creative power brokers. His journey, he feels, is a proof to the power of defying expectations.
What would the younger Edward make of the his current self? He laughs heartily. "He would be astonished, but he’d be proud. In those days I was sceptical of institutions. I didn't think institutions like Tate were necessarily for me."
He reflects. "I never take anything for granted. We lost our home, we left our homeland. I almost lost my vision. So fear isn't an option. People have counted me out my whole career. But no obstacle is too great once I’ve set my intention to do something."
