Eighteen months after closing his chapter at British Vogue, Edward Enninful is back with a bold return to print.
On Friday, the former editor unveiled the debut issue of 72 magazine, a quarterly publication under his new media and entertainment company EE72, which he co-founded with his sister, talent agent Akua Enninful.
Enninful, credited as chief creative officer, is positioning himself not just as an editor but as an entrepreneur. “I wanted to create something tactile, timeless and collectible – an object that honours traditional media with an unconventional approach to modern storytelling,” he told The Guardian. “While people say print is dead, I believe the opposite – print has become more powerful than ever and an art form that must be preserved.”
Julia Roberts fronts the first issue
The debut cover features Julia Roberts, interviewed by George Clooney. In a behind-the-scenes video posted to Instagram, Roberts joked with Enninful: “You left your other job, so I left your other job and now we’re both at your new job together.”
Rather than traditional coverlines, the front lists 20 star names including Pharrell Williams, Oprah Winfrey, Gwyneth Paltrow, director Luca Guadagnino, and painter Amy Sherald. Inside, the £15 issue spans 111 pages of fashion, arts, culture, and wellness. Features include Marc Jacobs’ bedtime routine, a beauty spread with a £17.70 toothpaste, an unbranded GLP-1 medication pen, and a three-page Moncler shoot designed by Enninful himself.
A shake-up in the fashion magazine world
Enninful’s launch comes at a pivotal moment in fashion publishing. Just a week earlier, Chloe Malle was appointed head of editorial content at American Vogue, succeeding Anna Wintour, who stepped back as editor-in-chief. Malle has already signaled a shift toward fewer, more collectible print editions.
Meanwhile, Vogue itself has faced criticism for becoming too mainstream, with recent covers starring Gigi Hadid and Kendall Jenner, and a digital feature on Lauren Sanchez Bezos described as a “calculated risk.”
Industry analysts see Enninful’s new project as a rivalry 2.0 moment. Mark Borkowski, a PR consultant and author, noted: “When he left Vogue, there were obituary-type pieces written about Enninful. Some felt he had risen to a pedestal he wasn’t worthy of. But this phoenix-like comeback shows his journey isn’t over. Every move he makes now will be pored over. He cannot fail.”
Building a Vogue-style team without the brand
Many of Enninful’s former colleagues at Vogue have followed him to EE72. Sarah Harris, a Condé Nast veteran who worked under both Alexandra Shulman and Enninful, is the editorial director. Other ex-Voguettes joining include a fashion critic, two fashion editors, an entertainment director, and two creative directors.
Harris described the shift as refreshing: “You make decisions quickly and don’t waste time on corporate processes. We’re not bound by precedent or traditional hierarchies. This gives us the freedom to be organically responsive to culture as it’s happening.”
Enninful himself dismissed speculation that he ever wanted Wintour’s role. Speaking to Bloomberg, he said: “I wanted my own thing. I wanted to create something for the next generation. That’s why I left.”
A magazine without ads
Perhaps the boldest move in 72’s debut is what it doesn’t have: advertising. The September issue, typically the most ad-heavy month in fashion, carries none. A spokesperson called it a “strategic decision” and “a direct challenge to the advertising-dependent model that has constrained editorial creativity for years.” They declined to comment on whether there were any paid product placements or sponsored shoots.
The lack of ads has drawn mixed reactions. Jeremy Leslie, founder of MagCulture, said the magazine lacked “a vital spark” and did not live up to mould-breaking expectations. He noted that many successful independent titles invest in twice-yearly editions with experimental design, glossy-meets-matt textures, and bold typography. The absence of advertising, he added, was “baffling.”
A rivalry worth watching
With Vogue under transition and Anna Wintour’s future still uncertain, industry watchers are already framing 72 as part of a larger power shift in fashion media. The magazine’s back cover, a prime space usually reserved for high-paying advertisers, instead features another image of Julia Roberts smiling.
For Enninful, the launch signals not just a return to print but also a declaration of independence. In an industry long dominated by Condé Nast, he is betting that creative freedom, celebrity star power, and a new business model can keep print alive – and perhaps even give him the last laugh.
Leo Cruz brings sharp insights into the world of politics, offering balanced reporting and analysis on the latest policies, elections, and global political events. With years of experience covering campaigns and interviewing world leaders, Leo ensures readers are always informed and engaged.
