Editor Of Vogue (Edward Enninful OBE): How To Become No.1 In Your Industry Against All The Odds!

Editor Of Vogue (Edward Enninful OBE): How To Become No.1 In Your Industry Against All The Odds!

The Diary of a CEOMay 29, 20231h 19m

Steven Bartlett (host), Edward Enninful (guest), Narrator

Childhood in Ghana, family dynamics, and early creative influencesMigration to the UK, racism, identity, and sexualityBreak into fashion: modeling, i-D Magazine, and early career ascentWorkaholism, imposter syndrome, addiction, and mental healthSobriety, therapy, spirituality, and redefining successLeadership at Vogue: diversity, inclusion, and commercial successHealth crises, grief, love, and building a sustainable life

In this episode of The Diary of a CEO, featuring Steven Bartlett and Edward Enninful, Editor Of Vogue (Edward Enninful OBE): How To Become No.1 In Your Industry Against All The Odds! explores from Ghana Military Base To Vogue: Edward Enninful’s Relentless Rise Edward Enninful, the first Black editor-in-chief of British Vogue, recounts his journey from a military base in Ghana to the top of the global fashion industry. Shaped by a fearful relationship with his father, early racism in the UK, and having to hide his creativity and sexuality, he channeled pain into obsessive work and excellence. He details how imposter syndrome, addiction, and loneliness coexisted with career success, ultimately forcing him into sobriety, therapy, and a radical rethinking of self-care. At Vogue, he used his position to challenge entrenched beliefs about race and beauty, proving that diversity is both culturally vital and commercially powerful, while learning to protect his health, relationships, and sense of self.

From Ghana Military Base To Vogue: Edward Enninful’s Relentless Rise

Edward Enninful, the first Black editor-in-chief of British Vogue, recounts his journey from a military base in Ghana to the top of the global fashion industry. Shaped by a fearful relationship with his father, early racism in the UK, and having to hide his creativity and sexuality, he channeled pain into obsessive work and excellence. He details how imposter syndrome, addiction, and loneliness coexisted with career success, ultimately forcing him into sobriety, therapy, and a radical rethinking of self-care. At Vogue, he used his position to challenge entrenched beliefs about race and beauty, proving that diversity is both culturally vital and commercially powerful, while learning to protect his health, relationships, and sense of self.

Key Takeaways

Early trauma can fuel both excellence and deep insecurity.

Edward’s fearful relationship with his authoritarian father taught him to hide his creativity and brilliance, instilling a lifelong sense of never being ‘good enough’. ...

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Relentless work without inner grounding leads to emptiness, regardless of status.

By his late twenties and early thirties, Edward had covers across Vogue and Vanity Fair, was flying constantly, and was at the pinnacle of his industry, yet he describes feeling intensely lonely, empty, and disconnected. ...

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Sobriety and therapy can be pivotal for high performers to stay functional and humane.

After losing his passport on the way to a major show and realizing alcohol was controlling his life, Edward entered AA and stayed sober for about 14 years. ...

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Diversity is not just moral; it is a strong business strategy.

When Edward took over British Vogue, the industry dogma was that ‘Black women on covers don’t sell’ and that diversity was ‘down-market’. ...

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Finding and nurturing your “tribe” is critical when you’re breaking barriers.

As one of very few Black creatives in elite fashion spaces, Edward consciously built a tight circle with Naomi Campbell, Pat McGrath, and others. ...

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Health crises can be non‑negotiable signals to change how you work.

Years of sleeplessness, constant travel, and stress culminated in multiple retinal detachments and tinnitus, threatening the senses (sight and hearing) his work depends on. ...

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Boundaries and the ability to walk away are late but essential skills.

In youth, Edward gave everything to work, accepted every opportunity, and stayed in environments out of obligation or fear. ...

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Notable Quotes

Work was everything for me. Work was when I was happiest. Work was when I was saddest.

Edward Enninful

I just needed to be able to look at myself and not hate myself.

Edward Enninful

There was this notion that women of color on covers don’t sell. I knew I would need to do something about it.

Edward Enninful

I would rather be fired for something I believed in than go in half-assing it and get fired anyway.

Edward Enninful

You always have to fight. But that fight comes at a cost.

Edward Enninful

Questions Answered in This Episode

You describe imposter syndrome as both a burden and a driver of your success. If you had children or mentees, how would you help them harness self-doubt productively without letting it become self-hatred?

Edward Enninful, the first Black editor-in-chief of British Vogue, recounts his journey from a military base in Ghana to the top of the global fashion industry. ...

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When you first pitched a more diverse, inclusive British Vogue to Condé Nast, what specific commercial or editorial data (if any) did you rely on, and how did you counter executives who believed ‘Black women on covers don’t sell’?

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Looking back at your period of heavy drinking and drug use, is there a specific early warning sign you now recognise that you ignored at the time, which you’d want someone in a similar position today to act on immediately?

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You’ve spoken about health issues forcing you to say no to certain jobs and travel. If a talented young stylist or editor today asked you how to set limits without stalling their career, what concrete boundaries would you advise them to put in place from day one?

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Now that other magazines have adopted visible diversity on their covers, what do you see as the next frontier of inclusion in fashion media—where do you think the industry is still failing, even if it looks ‘good’ on the surface?

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Transcript Preview

Steven Bartlett

It feels like you've lived an impossible life.

Edward Enninful

But with it, came all the... (instrumental music plays) I just needed to be able to look at myself and not hate myself.

Steven Bartlett

Edward Enngull.

Edward Enninful

The first Black man to become editor-in-chief of British Vogue. One of the fashion industry's biggest names. He's single-handedly changing the face of fashion.

Steven Bartlett

In your book, you talk about understanding that you were gay from a very young age. Had your father known, he would've slit your throat.

Edward Enninful

I grew up petrified of him. Each day, I was being told, "You're going to be a lawyer or a doctor." I knew that wasn't gonna happen. At the age of 13, I came from another country. 16, I was modeling, 18, I was an editor. It was quite fast. Work was everything for me. There was this notion that women of color on covers don't sell. I knew I would need to do something about it. I didn't just create a magazine that looked good, but is so financially successful. I was just so consumed with work and work was where I felt like an imposter, really. I mean, I never look at anything I've done and think, "This is amazing." I wouldn't sleep, that leads you to drinking and that leads you to drugs. You always have to fight.

Steven Bartlett

But that fight comes at a cost.

Edward Enninful

I woke up one day and I saw these black markings in my vision. I was so scared. I knew after that, that I had to change my life.

Steven Bartlett

You sit here as one of the most successful people in your industry. What would 51-year-old Edward say to 18-year-old Edward?

Edward Enninful

The one regret I do have is... (music stops)

Steven Bartlett

Before this episode starts, I have a small favor to ask from you. Two months ago, 74% of people that watch this channel didn't subscribe. We're now down to 69%. My goal is 50%, so if you've ever liked any of the videos we've posted, if you like this channel, can you do me a quick favor and hit the subscribe button? It helps this channel more than you know, and the bigger the channel gets, as you've seen, the bigger the guests get. Thank you and enjoy this episode. (instrumental music plays) Edward, it feels like you've lived and traveled an impossible life. You sit here as one of the most successful people in your industry, but when I read about your earliest context, that's why I use the word impossible. Can you give me the information I need to know to understand how the man that sits in front of me today got here? And I'm referring to that early information, the context that molded you into the man you are today.

Edward Enninful

Thank you for having me. Um, so as you read in the book, I grew, I was born in a city called Takoradi in Ghana, West Africa. My dad was in the army, he was a major, um, my mother was a seamstress, and we lived on a military base in the town. So already there was... That was a weird, um, way of growing up where you are in the town, but you're not in the town, you're on a military base with its own sets of rules and, and traditions. So, that's where I was. And, um, my mother was a seamstress, and I grew up in love with clothes, in love with my mother and in love with clothes, and I was always with her, uh, you know, when her customers came in. And my mother had, was one of those rare women who had their own business. You know, in the '70s in Africa, she had an atelier with about 40 women. So I would spend days just really helping her fit women into clothes and, you know, little African boy standing around the corner listening to the gossip, being shooed away. But I always say that's when I developed my love for women, all women, because the, you know, my mother's friends, my aunts, uh, were all bodacious women of different sizes. Big women, if you, you know, if you want to put it that way, but they were just beautiful and vivacious and alive. So really, that was, that was how, um, I grew up in Ghana. I mean, you know, I was always a sickly child, so I would always be with my mother a lot. And I really learnt about sort of women and what really makes them tick. You know, I always say I can tell when a woman is happy in a dress by the flick of her wrist or a little wince of the, of the nose. And, um, so my mother was a really great influence. I didn't know anything about fashion, but I had an aunt who had a salon called Dolly Dots, and she was a hairdresser, and that was like paradise for me. And it was there that I discovered magazines. There was a magazine called Ebony, which is an American magazine that you'd get every month. Another one called Jet and another one called Time. And I would literally devour those pages. And yeah, I was, I was really happy. It was a really happy childhood. And then we had to move to London because there was a military coup and my dad, from one day to the next, had to leave. So, that was the next chapter mainly.

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