A chance encounter during a tube journey in 1988 changed forever the path of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the capital's buzzing 1990s artistic milieu, evolving from mannequin to stylist and, by the age of 18, becoming the style editor of the publication i-D.
"That era was the peak of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I understood we’d be great friends. We all hung out across disciplines. Friday bled into Saturday into Sunday. I miss that spontaneity."
Although Enninful appears nostalgic, he is in good company. Lately, a fond idealisation of the 1990s has grown intense. But in the intervening decades, Enninful feels a significant change. "In my view, we’re less tolerant now than we were in the 90s," he remarks. "This isn't just this country – it’s a global phenomenon."
This change is hard to ignore: the rise of populist movements, the reaction against social awareness, and the reinforcement of traditional beauty standards. In place of the optimism of the Blair era, today a different political figure looms as a potential leader. Even, the British flag, once an badge of Cool Britannia, has returned as a polarising symbol.
For Enninful, the response has consistently been to promote 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, showcasing a wide range of influential figures from literature.
"People with a voice should use it," he comments, explaining those editorial decisions. "People often debate about immigration; I wouldn't be here if Britain hadn't been a welcoming country, if it hadn't given my family a refuge and an education. That’s the Britain I cherished. I hope this period will end."
He draws solace in the younger generation: "Their awareness is greater than we were. They talk about unconscious bias – I had no concept what that was."
The beginnings of his career would define a groundbreaking career characterised by fearlessness and representation. Enninful set a precedent as the first male, first black man, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His leadership featured historic front pages showcasing people of diverse backgrounds, plus-sized women, older individuals, and individuals from all walks of life. Significantly, sales grew.
"Ignoring huge sections of the population, it’s not just that you’re not being inclusive – it’s commercially unwise," he explains.
He has established his agency EE72 and its accompanying magazine, 72, his key endeavour since moving on from his former post. He expresses a desire to continue being a "disruptor".
"I’ve always questioned the established norms. I was born and raised in a place where everybody was black – the physicians, the attorneys, the president. Then we arrived in England, penniless, and I was a minority. I was incredibly timid. My teachers predicted I’d have no future. Me and my brothers were stopped by the police the Sus laws … all that 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 journey has included its share of adversity, including openly discussed battles with mental health and substance use.
He has also faced significant health challenges, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I endured such a difficult period for two years, not working, fearing I was going to lose my sight. It’s similar to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever passes, 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 drive to fit into a box has inspired him outside the realm that made his name. He is now curating a seminal 1990s exhibition at Tate Britain, showcasing work by a roster of pivotal artists and photographers from the era. The show, he explains, aims to capture the decade's artistic collaboration – and give platform to those who lacked adequate attention at the time.
"Galleries didn't always celebrate the truly innovative creators because they weren't of the traditional credentials," he states.
This venture itself functions with a unique approach, rejecting traditional advertising in favour of integrated partnerships. "The question is, what can we create collaboratively? Is it an event, a series? The magazine is a piece within a greater ecosystem."
Now, Enninful is regarded as one of the world's most respected industry leaders. His path, he believes, is a proof to the power of defying expectations.
What would the younger Edward react to the man he has become? He chuckles. "He would be astonished, but he’d be impressed. In those days I was a rebel. I never imagined institutions like Tate were a place for someone like me."
He reflects. "Gratitude is key. We lost our home, we fled our country. I nearly lost my vision. So fear is not a factor. People have counted me out my whole career. But I am unstoppable once I’ve set my intention to do something."
Milan is een ervaren opticien met een passie voor visuele technologie en klantgerichtheid.
