Julia Roberts burned the internet this week when the cover of her first fall fashion magazine was announced. The stars of “Pretty Woman” and “Notting Hill” take photos wearing Phoebe Philo blazers, embodying the glossy movie star Allure you’ll look forward to in the season.
However, it was not one of the usual suspects like Vogue, Harper’s Bazaar, or W that landed Roberts. It was former Conde Nast editor Edward Enninful, a well-known magazine creative who piloted British Vogue for six years, grabbed her the first cover of his new media venture EE72.
Enninful was once an editor of American Vogue and appeared on the sidelines of RJ Cutler’s acclaimed documentary, “September Issue,” about Anna Wintour’s harsh world and the production of the famous annual issue. He became himself in the late 2010s. There, British Vogue became prominent under his watch (as in the domestic version of Frill Wintole, even if the Fashion Press speculated his skill in search of top talent like Adele and Billy Eilish).
Throughout his career, industry insiders fixed him as Wintool’s successor. He set out in 2023 shortly after a lost “power struggle” with a well-known editor and the chief content officer of Condé Nast, the report said. The 75-year-old Wintour recently left American Vogue’s daily editorial business (with longtime employee and daughter of actor Candice Bergen, Chloe Mal, as editor-in-chief).
Enninful, who didn’t comment on the last time he spoke to his old boss, returns to the scene with a publication he hopes to rival his previous publications. Printed products, 72 magazines, appear as quarterly publications. The daily media platform, EE72, lives online. Simone Oliver runs editorial content and is co-foundered by Enninful talent agent Sister Akua.
Enninful spoke to diversity about fashion, culture and the power of enduring printing.
Why is this venture at this point in your career?
I worked for an amazing edition of Vogue – Italian, British, German, you give it a name. I worked for ID magazine. But my whole career really led me to this. I wanted to make something out of the mast head. It is based on principles I believe in. Empathy is one of them, allowing you to be free and do what you want to do.
What does empathy mean in terms of this new product?
Well, expression is important. I believe in establishing a company where all voices are welcome. That’s the most important thing in my career and more important than ever.
Andre Leon Tully wonders what the famous person who fell with Vogue would say about this moment?
Andre has always been my champion. When I went to Vogue, England, he sent me a letter – I smashed the glass ceiling. He was very proud of me. I think he’s very excited. If he is here, I will track him down and contribute to us and write.
Your first problem will be ads free. What do you think about it there?
The first problem is dedicated to creativity. It’s a journey that is uninterrupted (by advertising) and is a close look at why our subjects have entered their chosen industry. Combine incredible images with incredible minds. We are located at the intersection of beauty, fashion and culture. Culture is very important to me.
How did you land Julia Roberts for the first cover?
Like most people, I grew up loving Julia Roberts through her films. She was there for most of our lives. I always remember when I was in British Vogue. I have gone to Julia Roberts for cover many times and she is very reserved. She doesn’t do much. For some reason, when we called her for our launch she agreed to do it. We shot a beautiful cover and rode it as friends. She is a modern woman, and other women are filtered, timeless and empowered. When I was leaving (Vogue, England), if I did anything else, I would want her as my first cover. She thought I was kidding.
How important is Hollywood numbers in the recent world of fashion editing as muse and subject?
Culture has always been the most interesting thing for me. Yes, I have a fashion background, but it’s film, music, architecture, and food that drives me. Every magazine I do has that element of Hollywood. I couldn’t do this without my great friends. You know, 40 of them gathered for my final cover (British Vogue). This first issue has Oprah. There are Gwyneth Paltrow and Luca Guadanino. I’m very excited about it.
I think she was the only person to have had a record-breaking interview with Beyoncé in the last 15 years. Can you expect to see her soon at EE72?
My relationship with Beyoncé is very special. I’m a huge fan too, I respect her very much. Look at this space.
My friend reminded me that there is another universe in which Hillary Clinton became president in 2016, and appointed Anna Wintoll as the U.S. Ambassador to the UK and you took over the American Vogue. Did it look like it was on the card to you?
My time was very wonderful. I left when I wanted to leave, I felt like I said something I needed to say. I brought expression to fashion. When I started, people said that black and brown models wouldn’t sell magazines. I was very pleased with my work there, but now I am very excited to be able to concentrate on this next chapter. I can really shine a spotlight on the most incredible creatives in the world. But yes, Vogue has given me an incredible platform.
Vogue has just announced a security guard exchange with Chloe Malle, what did you do with that?
We can’t talk about what’s going on in Condé Nast. I left almost two years ago and am excited by what I am doing now and the stories we can tell.
Let’s talk about the structure of the EE72. This is a quarterly printed publication and is done online every day.
The company consists of three pillars. There is a platform, the living creature at the heart of the company. It is immersive and editorially led, bringing together all your content, commerce and community. I also needed something I thought was known. This is a printed arm. Everyone said, “The print is dead!” But I wanted a quarterly magazine that was a homage to storytelling and paid attention to seasonal themes. When Kindle came out, people were scared, but that had the opposite effect (in the book market). We want to create a space that spotlights the culture that shapes the brightest stars. The final pillar is our creative consulting arm. It deals with external clients and becomes a commercialized representation of EE72. During all this, we curate a “cultural drop.” We work with video and commerce brands. Also, our great feature ideas can help you become short films and podcasts.
Many emerging media seem to prioritize their ability to be agile. Have you ever thought up a monthly publication?
People kept advised me to buy a title that exists but is now dead, and reinvented it. But I said no, I want to make something from the ground up, something new and exciting that allows us to pivot when we need it. Something that has not been lost in history. Something free.
