An unexpected discovery on the London Underground in 1988 changed forever the course of a teenage Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the city's electric 1990s creative scene, progressing from model to stylist and, by the age of 18, becoming the style editor of the iconic i-D.
"That time was the peak of the YBA movement – Tracey Emin, Jay Jopling. 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 hung out across disciplines. Friday became Saturday into Sunday. I long for that spontaneity."
While Enninful may seem wistful, he is far from alone. Recently, a wistful romanticisation of the 1990s has reached fever pitch. Yet since that time, Enninful perceives a profound shift. "I believe, we’re less accepting now than we were in the 90s," he says. "The issue extends beyond this country – it’s a global phenomenon."
This change is increasingly evident: the rise of far-right politics, the reaction against social awareness, and the reassertion of traditional beauty standards. Where once there was the hope of the late 90s, now a more divisive political force stands as a potential leader. Even, the British flag, once an symbol of national pride, has returned as a polarising symbol.
For Enninful, the antidote has long been to celebrate culture in all its variety. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, featuring a diverse array of influential figures from music.
"People with a voice should wield it," he says, discussing those publishing choices. "Everyone talks about immigration; I would not be in this position if Britain hadn't been a lenient country, if it did not offer my family a refuge and an education. That’s the Britain I always loved. I believe this moment will pass."
He finds hope in the next generation: "Their awareness is greater than we were. They discuss unconscious bias – I didn't even know what that was."
His formative years would forge a pioneering career marked by boldness and representation. Enninful set a precedent as the first man, first Black editor, first openly gay person, and first disabled gay man of colour to take the helm at British Vogue. His tenure featured historic front pages showcasing models of colour, plus-sized women, older individuals, and people from varied communities. Importantly, sales rose.
"Ignoring huge sections of the population, it’s more than that you’re failing to represent – it’s a poor strategy," he states.
He has established his agency EE72 and its accompanying magazine, 72, his key endeavour since leaving his former post. He says he wants to continue being a "change-maker".
"I’ve always questioned the status quo. I was born and raised in a place where Black professionals were the norm – the physicians, the lawyers, the president. Then we came to England, with nothing, and I was a minority. I was incredibly timid. My teachers declared I’d never amount to anything. Me and my brothers were subject to police stops the suspicion laws … all that gave me a unique perspective on the inside and the outside."
In contrast to the stereotype of fashion editors as loud and highly strung, Enninful is measured in tone and exudes calm. His journey has not been immune to hardship, including openly discussed struggles with depression and substance use.
He has also endured significant health issues, having had multiple operations on his eyes, resulting in partial sight. "I was in such a time of fear for two years, not working, anxious I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I thought, if this ever passes, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to limit myself to just being an editor or a fashion person."
This determination to be defined narrowly has inspired him away from the world that established him. He is now organising a significant 1990s exhibition at Tate Britain, featuring work by a group of pivotal artists and photographers from the era. The show, he explains, aims to explore the decade's artistic collaboration – and give platform to those who weren't given a spotlight at the time.
"Institutions didn't always promote the right artists because they did not have the traditional credentials," he observes.
The magazine 72 itself uses a novel strategy, rejecting traditional advertising in favour of creative collaborations. "The question is, what can we create collaboratively? Is it an experience, a series? The magazine is one component of a larger creative platform."
Today, Enninful is regarded as one of the world's most powerful creative power brokers. His story, he feels, is a proof to the power of pursuing your passions.
How would the younger Edward make of the Edward of today? He smiles. "It would be a surprise, but he’d be proud. Back then I was a rebel. I didn't think institutions like Tate were a place for someone like me."
He adds. "I never take anything for granted. We lost our home, we fled our country. I nearly lost my vision. So there is no room for fear. People have doubted me my whole career. But nothing can stop me once I’ve made up my mind to do something."
Marcus Sterling is a financial analyst specializing in precious metals, with over 15 years of experience in global markets and investment strategies.