Julia Roberts, Edward Enninful, and Sarah Harris, photographed by Craig McDean (Courtesy EE72).
As reported by CNN
When people talk about Edward Enninful’s departure from Vogue, his name is often mentioned as a symbol of a new wave in the fashion industry. In March 2024, British Vogue published the final issue of his tenure as editor-in-chief, featuring a star-studded campaign with 40 well-known women – Jane Fonda, Oprah Winfrey, Serena Williams and many others.
A single-shot exposure became a kind of signal about the complexity of planning and diplomacy required to assemble such a group in one room. Such coordination is not within the power of every editor, but this has become part of his legacy in the editorial sphere.
Over the years of his career Enninful has repeatedly changed the face of fashion: from his beginnings at i-D to work at Italian Vogue and Vogue USA, W in New York, and ultimately leading British Vogue since 2017. He stood behind ambitious projects, such as the Black Issue in Italian Vogue in 2008, when only Black models were featured, reaffirming the need for diversity again and again. He also worked as a stylist and consultant for brands such as Calvin Klein and Dolce & Gabbana.
72: A New Media Platform as the Answer to the Future
After leaving the heights of Vogue, Enninful launched the print magazine 72 as a pillar for his media business EE72. The magazine promises to be a platform not only for fashion but also for art, culture, and a broad range of stories. The team sees in this a new format of collaboration with brands online, in print, and through experiences or events.
In the first issue there are no traditional advertisement pages – a deliberate step toward demonstrating a commitment to creativity. “I just want it to be a love story to creativity.” – said Enninful, underscoring a shift away from the old pay-for-play system.
The disruption in the business model lies in partnerships with brands online, in print, and through a variety of events. The initial launch parties take place in New York, London, Milan and Paris with partners such as Moncler and Levi’s. While such moves are not fundamentally new for the industry, their startup-style format already sets EE72 apart from traditional media groups.
“I just want it to be a love story to creativity.”
Among the support team are Sara Harris and Simone Oliver, who help shape content and strategic decisions. Oliver emphasizes creative freedom and moving forward quickly: “From my early conversations with Akua and Edward it was clear they were not aiming to preserve the status quo.”
“From my early conversations with Akua and Edward it was clear they were not aiming to preserve the status quo.”
“It seems this is the best version of a magazine format yet in motion” – Oliver notes, highlighting ambition and visual appeal. In the face of criticism from part of the audience, industry and colleagues’ support remains strong, and Enninful continues to leave a mark in an industry that still needs new approaches.
«So many women feel invisible in their 50s.»
Regardless of criticism, the team and Enninful himself believe in their approach: supporting diversity, mentorship, and a culture of shared creativity can redefine the media industry and push the boundaries of what is called the glossy of the future.
The question of whether Edward Enninful can build something truly big after Vogue remains open. Yet his path shows: he does not seek to repeat old formats, but creates new models that allow creativity to flourish in collaboration with business and audiences.
Other news you may find interesting:
