theguardian.com
Enninful Launches 72 Magazine, Challenging Fashion Industry Norms
Edward Enninful launched 72, a quarterly print magazine, challenging traditional advertising models and showcasing a star-studded lineup including Julia Roberts and George Clooney, marking a departure from his previous role at British Vogue.
- What is the primary significance of Enninful's new venture, 72 magazine, within the fashion industry?
- 72 magazine directly challenges the advertising-dependent model of traditional fashion magazines. Its debut issue features no luxury advertising, opting for a model that prioritizes editorial independence. This represents a potential shift in how fashion publications generate revenue and maintain editorial control.
- What are the potential long-term implications of 72 magazine's model, and what challenges might it face?
- The long-term success hinges on its ability to maintain financial stability without traditional advertising revenue. This model could inspire other publications to explore alternative revenue streams. However, challenges include securing sufficient readership and attracting high-profile contributors without the lure of significant advertising revenue.
- How does the launch of 72 magazine relate to recent changes and controversies within the fashion publication landscape?
- The launch follows recent criticism of Vogue for becoming too mainstream and its September issue featuring Emma Stone in Louis Vuitton. It also comes after Anna Wintour stepped back from her role at American Vogue, which will reduce its print frequency, creating more collectible editions. Enninful's move reflects a growing trend towards independent, high-quality print publications that prioritize editorial integrity.
Cognitive Concepts
Framing Bias
The article presents a balanced view of Edward Enninful's new venture, 72 magazine, highlighting both positive aspects (star-studded launch, innovative approach) and criticisms (lack of advertising, perceived lack of originality). While the article emphasizes Enninful's success and comeback narrative, it also includes counterpoints from critics, preventing a solely positive portrayal. The headline could be considered slightly positive, framing Enninful's relaunch as a comeback, but the overall narrative is nuanced.
Language Bias
The language used is largely neutral and objective. Terms like "starry contacts book" and "phoenix-like comeback" are descriptive but not overtly loaded. The inclusion of direct quotes from various sources further enhances objectivity. However, phrases like 'obituary-type pieces' and 'he had risen to a pedestal he wasn't worthy of' could be considered slightly negative, although they are attributed to a specific source.
Bias by Omission
The article could benefit from including a broader range of opinions on 72 magazine's success. While it features perspectives from critics like Jeremy Leslie, it primarily focuses on Enninful's perspective and those close to him. A broader analysis of reader reception and independent reviews would provide a more complete picture. Also, the financial aspects of EE72, beyond the lack of advertising in the first issue, are not explored.
False Dichotomy
The article subtly presents a false dichotomy by focusing on the rivalry between Enninful and Wintour. While the narrative acknowledges Enninful's ambition and independent venture, it frames it largely in opposition to Wintour's actions at Vogue. This oversimplifies the complex dynamics within the fashion industry and the various factors influencing the success or failure of print magazines.
Sustainable Development Goals
The article highlights Edward Enninful's entrepreneurial journey, establishing a new media company and launching a magazine. This showcases the creation of jobs and opportunities within the media and fashion industries, contributing to economic growth. The focus on a sustainable business model that challenges traditional advertising-dependent models also suggests innovation and potential for long-term economic viability.