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| Ex-Vogue editor Alexandra Shulman thrusts stiletto into successor | Ex-Vogue editor Alexandra Shulman thrusts stiletto into successor |
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| Former British Vogue editor Alexandra Shulman has hit out at what she described as a new guard of editors who she said were no longer magazine journalists but instead “celebrities or fashion personalities with substantial social media followings”. Her remarks appear to be a thinly veiled swipe at her successor, Edward Enninful, who frequently shares pictures of himself with Naomi Campbell, Kate Moss and other leading fashion models across a string of websites. | Former British Vogue editor Alexandra Shulman has hit out at what she described as a new guard of editors who she said were no longer magazine journalists but instead “celebrities or fashion personalities with substantial social media followings”. Her remarks appear to be a thinly veiled swipe at her successor, Edward Enninful, who frequently shares pictures of himself with Naomi Campbell, Kate Moss and other leading fashion models across a string of websites. |
| Writing for the Business of Fashion website, Shulman asked the question “what makes a great magazine editor?” She concluded that editing was “certainly not a job for someone who doesn’t wish to put in the hours and thinks that the main part of their job is being photographed in a series of designer clothes with a roster of famous friends”. | Writing for the Business of Fashion website, Shulman asked the question “what makes a great magazine editor?” She concluded that editing was “certainly not a job for someone who doesn’t wish to put in the hours and thinks that the main part of their job is being photographed in a series of designer clothes with a roster of famous friends”. |
| Born on 22 February 1972 in Ghana, Enninful moved to the UK with his parents and five siblings as a young child, setting up home in Ladbroke Grove, west London. Aged 16, he was scouted by stylist Simon Foxton, who introduced him to the world of fashion as a model. | Born on 22 February 1972 in Ghana, Enninful moved to the UK with his parents and five siblings as a young child, setting up home in Ladbroke Grove, west London. Aged 16, he was scouted by stylist Simon Foxton, who introduced him to the world of fashion as a model. |
| While modelling, Enninful caught the eye of Trish and Terry Jones, the founders of i-D magazine, and assisted on fashion shoots at the publication. At 18, while studying at Goldsmiths, University of London, he was appointed fashion director at i-D, launching him into the fashion stratosphere. As the youngest fashion director for a publication, he developed his reputation for producing groundbreaking shoots which captured the energy of the 90s' creative playground. During this period he formed firm friendships with many of his lifelong collaborators, including Kate Moss and Naomi Campbell. He stayed with i-D for two decades before moving to Condé Nast’s W magazine as style director in 2011. | While modelling, Enninful caught the eye of Trish and Terry Jones, the founders of i-D magazine, and assisted on fashion shoots at the publication. At 18, while studying at Goldsmiths, University of London, he was appointed fashion director at i-D, launching him into the fashion stratosphere. As the youngest fashion director for a publication, he developed his reputation for producing groundbreaking shoots which captured the energy of the 90s' creative playground. During this period he formed firm friendships with many of his lifelong collaborators, including Kate Moss and Naomi Campbell. He stayed with i-D for two decades before moving to Condé Nast’s W magazine as style director in 2011. |
| As a stylist, Enninful has worked on countless campaigns for high-fashion houses, including Lanvin, Carolina Herrera and Tiffany & Co, and has held contributing editor positions on the American and Italian editions of Vogue. At the latter, he worked with its late editor-in-chief Franca Sozzani to produce the top-selling 2008 Black Issue, which featured only black celebrities and models. | As a stylist, Enninful has worked on countless campaigns for high-fashion houses, including Lanvin, Carolina Herrera and Tiffany & Co, and has held contributing editor positions on the American and Italian editions of Vogue. At the latter, he worked with its late editor-in-chief Franca Sozzani to produce the top-selling 2008 Black Issue, which featured only black celebrities and models. |
| On 10 April 2017, Condé Nast announced Enninful would succeed Alexandra Shulman as editor-in-chief of British Vogue, making him the first man to edit the UK edition. A strong advocate of diversity in the industry, Enninful has spoken of his desire to promote greater racial inclusivity in Vogue. Given his A-list contacts book and background as a stylist, many have speculated he will produce a more visually led publication with a heavy celebrity presence. | On 10 April 2017, Condé Nast announced Enninful would succeed Alexandra Shulman as editor-in-chief of British Vogue, making him the first man to edit the UK edition. A strong advocate of diversity in the industry, Enninful has spoken of his desire to promote greater racial inclusivity in Vogue. Given his A-list contacts book and background as a stylist, many have speculated he will produce a more visually led publication with a heavy celebrity presence. |
| 'By virtue of his talent and experience, Edward is supremely prepared to assume the responsibility of British Vogue,' his new boss, chief executive Jonathan Newhouse, said, adding that he is 'an influential figure in the communities of fashion, Hollywood and music, which shape the cultural zeitgeist'. | 'By virtue of his talent and experience, Edward is supremely prepared to assume the responsibility of British Vogue,' his new boss, chief executive Jonathan Newhouse, said, adding that he is 'an influential figure in the communities of fashion, Hollywood and music, which shape the cultural zeitgeist'. |
| 'I grew up reading British Vogue – I am so honoured and humbled to be taking up the mantle of editor,' he said in an interview with the publication, revealing that he was 'most excited to tell my father about my appointment'. | 'I grew up reading British Vogue – I am so honoured and humbled to be taking up the mantle of editor,' he said in an interview with the publication, revealing that he was 'most excited to tell my father about my appointment'. |
| Shulman did not mention anybody by name but her comments emerged amid signs of a growing rift between her and her successor at the influential magazine, which she edited for more than 25 years. | Shulman did not mention anybody by name but her comments emerged amid signs of a growing rift between her and her successor at the influential magazine, which she edited for more than 25 years. |
| In August Enninful’s friend, Campbell, criticised the lack of diversity at the publication under Shulman’s tenure by posting a photo of Vogue’s staff under her leadership. It showed there were no black employees in a workforce of around 50 and thanked Enninful for appointing her as a contributing editor to the magazine. | In August Enninful’s friend, Campbell, criticised the lack of diversity at the publication under Shulman’s tenure by posting a photo of Vogue’s staff under her leadership. It showed there were no black employees in a workforce of around 50 and thanked Enninful for appointing her as a contributing editor to the magazine. |
| However, in her article, Shulman questioned the value of appointing high-profile “contributing editors” asking again whether they were prepared to work hard enough to justify their status. | However, in her article, Shulman questioned the value of appointing high-profile “contributing editors” asking again whether they were prepared to work hard enough to justify their status. |
| Shulman wrote: “It has been interesting and educative to see over the years which of the more dilettante or famous contributors really put some effort into their contributions and which liked the idea of an association to the magazine without the tedious business of actually doing any work.” | Shulman wrote: “It has been interesting and educative to see over the years which of the more dilettante or famous contributors really put some effort into their contributions and which liked the idea of an association to the magazine without the tedious business of actually doing any work.” |
| Enninful, the first male editor to be appointed to British Vogue in its 101-year history, started the job in August, replacing the privately educated Shulman, who had run the title since 1992. An outspoken advocate for more diversity in fashion, Enninful, who was born in Ghana and raised in London, was previously a style director at titles including W and i-D magazines, where he befriended Campbell and Moss. | Enninful, the first male editor to be appointed to British Vogue in its 101-year history, started the job in August, replacing the privately educated Shulman, who had run the title since 1992. An outspoken advocate for more diversity in fashion, Enninful, who was born in Ghana and raised in London, was previously a style director at titles including W and i-D magazines, where he befriended Campbell and Moss. |
| Since Shulman’s departure, several senior editors have left the Condé Nast-owned title in what appeared to be a clear-out orchestrated by her successor. Lucinda Chambers, the outgoing fashion director, gave an angry interview in which she said she had been fired and that the clothes in the magazine had become “irrelevant”. | Since Shulman’s departure, several senior editors have left the Condé Nast-owned title in what appeared to be a clear-out orchestrated by her successor. Lucinda Chambers, the outgoing fashion director, gave an angry interview in which she said she had been fired and that the clothes in the magazine had become “irrelevant”. |
| But the former editor complained that the printed magazine was being starved of resources while its publisher was switching its focus towards digital content. She warned that British Vogue was in danger of losing some of its identity because “a massive investment” was being made in “a digital hub to service titles internationally with an element of one-size-fits-all content”. | But the former editor complained that the printed magazine was being starved of resources while its publisher was switching its focus towards digital content. She warned that British Vogue was in danger of losing some of its identity because “a massive investment” was being made in “a digital hub to service titles internationally with an element of one-size-fits-all content”. |
| Shulman said that while “the digital curveball thrown at print is powerful” that “doesn’t mean that magazine brands don’t require editors who actually edit … who sweat the small stuff”. She said that Vogue and titles like it would otherwise be at risk of “chasing clickbait that is mirrored in a zillion websites and cravenly following a small pool of short-term celebrity names”. | Shulman said that while “the digital curveball thrown at print is powerful” that “doesn’t mean that magazine brands don’t require editors who actually edit … who sweat the small stuff”. She said that Vogue and titles like it would otherwise be at risk of “chasing clickbait that is mirrored in a zillion websites and cravenly following a small pool of short-term celebrity names”. |
| Shulman dedicates much of her article to defending the importance and value of print magazines over digital, describing them as “not only information and entertainment but also image-defining accessories, endowing the buyer with membership of a certain tribe when carried or even placed on a coffee table or kitchen counter”. | Shulman dedicates much of her article to defending the importance and value of print magazines over digital, describing them as “not only information and entertainment but also image-defining accessories, endowing the buyer with membership of a certain tribe when carried or even placed on a coffee table or kitchen counter”. |
| Condé Nast declined to comment on Shulman’s article. However, a source with knowledge of British Vogue also claimed that staff were concerned about their jobs under the Enninful regime, which they said was overly focused on celebrity figures. | Condé Nast declined to comment on Shulman’s article. However, a source with knowledge of British Vogue also claimed that staff were concerned about their jobs under the Enninful regime, which they said was overly focused on celebrity figures. |
| The insider said that staff were “all so excited about this new chapter – and the reality is like working on the set of Zoolander. Hardworking staff … are being culled to free up cash for lavish shoots and celebrity appointments. Alexandra Shulman’s column is sadly spot on. In terms of positives, they’re very glad to see a genuine diversity of models and talent being represented in the upcoming issue.” | The insider said that staff were “all so excited about this new chapter – and the reality is like working on the set of Zoolander. Hardworking staff … are being culled to free up cash for lavish shoots and celebrity appointments. Alexandra Shulman’s column is sadly spot on. In terms of positives, they’re very glad to see a genuine diversity of models and talent being represented in the upcoming issue.” |
| Others, though, have taken Enninful’s side. A blogger writing for the Spectator under the pseudonym Pea Priestly has been highly critical of Shulman’s editorship, claiming it will be “defined by mediocrity, idiocy and flip-flops”, that Vogue was “borderline racist” during her reign – because it had only two covers featuring solo black models since 2002 – and that Enninful’s first act should be “to get rid of the whole anaemic team – every last Sloaney sloth”. | Others, though, have taken Enninful’s side. A blogger writing for the Spectator under the pseudonym Pea Priestly has been highly critical of Shulman’s editorship, claiming it will be “defined by mediocrity, idiocy and flip-flops”, that Vogue was “borderline racist” during her reign – because it had only two covers featuring solo black models since 2002 – and that Enninful’s first act should be “to get rid of the whole anaemic team – every last Sloaney sloth”. |
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