iran sees demonstrations continue. after a woman was killed accused of wearing her hijab incorrectly. now on bbc news, the arts interviews. as editor—in—chief of british vogue since 2017, edward enninful has challenged convention — not least by increasing the number of black and older women in the magazine. he's reached the summit of international fashion and media while battling depression, alcohol problems and a sickle cell condition. it's a long way from his childhood in ghana, which his family fled during the political turmoil of the mid 1980s, landing in south london at the height of social unrest in the capital. black, working class, gay and a former asylum seeker, he's now tipped by many as anna wintour�*s replacement when she eventually retires from american vogue. hello, amol. hello. very good to see you. how are you doing? i'm good. thank you for having me. i wanted to find out who he really is and how he wants to change our culture. edward enninful, thank you so much for speaking to me, thank you for speaking to bbc news. i want to start by talking a little bit about where your book starts, which is with your family, because you were born into a remarkable ghanaian family, the fifth of six children. first of all, tell me a bit about your dad — a military major who you describe as a sporadic presence around the house. what was he like? i mean, major crosby enninful. he was very strict, very sort of old—school african military, you know? ruled the house with an iron fist and we were all scared of him growing up! you know, you'd be outside, sort of playing and it's like "there comes your dad" and then you have to run in the house and clean your feet and wash your hands. yeah, he wasjust old school militarian. the disciplinarian type. yeah. what about your mum — what was she like? my mum was very creative — i mean, i think that's where i got my creativity from. she was also making clothes, always making people laugh, always sort of in a world of her own. so, they were quite a good contrast, i'd say! and she set up with this company of seamstresses — and a lot of people won't necessarily know what that actually involves, but it was there that you discovered your interest in garments, in creativity and you came to understand the interests of fashionable women. i remember all these incredible women of all shapes and sizes and colours, you know? my grandmother, my aunts, my cousins, and all of them laughing, and so i always associated fashion with fun and joy and seeing a woman sort of try on a dress and just come alive. so, i remember going to my aunt's salon, dolly dots, and seeing ebony magazine and jet and time and i was transported. i didn't know i would end up sort of doing what i'm doing now but i knew there was a world out there that i wanted to be a part of and it was glamorous and it was bright and all these incredible women — you know, i've always been so obsessed with sort of strong women. and as so often with immigrant stories, it was political upheaval that actually created the circumstances in which the enninfuls would move to london — and initially south london, a place called vauxhall. it must have been an incredible psychological challenge for your father. i think he had to swallow his pride because he was such a proud man, to go from being sort of this military person to, yeah, essentially seeking asylum. and we were all sort of crammed into my aunt's 2—bedroom flat in vauxhall. but we were just kids. we thought this was like paradise, really. and we were all sharing rooms and now that i look back, oh, my god, it was quite — quite a hard time. you know, we had no money. but when you're young, you don't see those things, you know? everything's an adventure. you've mentioned a couple of times you're interested in strong women. there's also a line in the book where you say that, "at school, women were my special weakness". now, most people would use that phrase in a sexual sense and i don't think you were using it in that sense. what did you mean by that phrase? i realised from a young age that i didn't see women in a sexual way but i loved when they were outspoken, i loved when they dressed for themselves, i loved — i loved everything about them. and i guess we will get into talking about being gay later but at that time, i knew i had a strong affiliation. i didn't — i never hang out with boys. i always hung out with the girls. and i was never bullied because if you wanted to get to know the girls, you have to get to know me, so... laughs. you were the like ideal wingman, weren't you? basically, without knowing what a wingman was! perfect. you moved to ladbroke grove, which is the area just north of notting hill. what was it like back then as a young man, and especially as a young black man? i mean, ladbroke grove is a very interesting area, notting hill generally. it's one of the few areas where you can have sort of the wealthiest of the wealthiest aristocrats next to rastafarians next to sort of immigrants, so i loved the energy. i loved the fact that, oh, my god, i really belonged. i started feeling like i belonged in england when we hit ladbroke grove. but i — there was — i remember the front line — ladbroke grove itself was always the front line and the police were there every day, so you had to be so careful — you know, we were stopped so many times, my brothers and i. it's remarkable how much the course of history, whether it's global or personal, can swing on chance meetings and for you, it was when you were on the london underground, when a bloke called simon handed you a card. laughs. and i remember getting on the train and sort of heading to college and simon was staring at me and he was — i remember bald, wearing denim and, you know, i was quite sheltered... i6. yeah, and at baker street, he got off and gave me his card and he said, "my name is simon foxton. "i'm a stylist" — i didn't know what a stylist was — but, "call me. "i'd love to use you in a shoot." i remember getting home and poor mum. "mum, i want to do this!" she wasn't having it. she's like, "the fashion industry is full of weird "people" — i didn't know what she meant by "weird" at the time — but as you do when you're young, i sort of forced her, and eventually she called simon... so, she called him, not you? well, she did. she wanted to vet him and make sure that he was... basically! wow. african mother. and sort of, yes, then i started sort of shooting with simon and nick knight as a model, and then i became a model with an agency while i was at college and really, that was my entry into fashion. and a few weeks later, you were doing a shoot with the great nick knight, a photographer who you are still loyal to today — he's shot covers for you. and you worked for i—d magazine. you were fashion director at the age ofjust 18. i—d magazine was legendary. why did i—d magazine have such an outsized influence on the culture back that era? because we're talking, what? late �*80s, early �*90s. because terryjones, who's still at i—d, was the art director for british vogue. and he looked around the streets and saw so many incredible people from different races, you know? different ages, not being reflected in sort of the big magazines at the time. so, he decided to set up a magazine to document youth culture — a magazine run by young people for young people — and so, that's why i—d was so influential. you came of age in fashion in a sense at the same time as people like naomi campbell and kate moss, who people watching now will be aware of as two icons in fashion. icons. i just want to ask you about what makes them successful. let's start with kate moss. you knew her in the early days. i met kate when i was 16 and she was 14 and we went to a casting, and i remember she walked in and she literally charmed the whole room. the energy as well as the beauty. she's uniquely herself. and naomi's always been the same. she was always outspoken. naomi always thought she was going to be a star from when she was a baby — and she is a star — but, you know, they really are who they are — authentic. you also were defining your own sexuality and being open about it. you had a girlfriend who was another model and then, simon foxton took you to more gay bars, like heaven. you describe this in the book — very beautifully, if i may say — where you talk about how, "just as i had found myself in fashion, which is what i "wanted to do in the world, "now i was discovering more intimate terrain. "i felt free and scared and excited." but how did coming from a ghanaian family complicate coming out? my friends said apparently, when i was a teenager, we had this conversation — i didn't even remember. and i was, like, you know, i hear it's a european thing. and he was like, you know, "no, maybe it's who you are." and i remember being very shy about it. but when we started going out and seeing people like myself, slowly ijust realised, "oh, my god, i have found a tribe". how did your dad take it? my dad — funny enough, everyone thinks that should have been a problem. ijust literally, i was like, "this is who i am." he had already kicked me out back then! it was already strained at that point. strained — and it was strained because he wanted you to study law. i remember getting to goldsmiths and realising it wasn't for me, realising i loved what i was doing, sort of assisting simon and modelling and hanging around the i—d offices, so i pretended to my father i was going to — i was going to university when i was actually hanging out. and i remember one day literally, i couldn't sort of hide it any more and i told him that i wanted to be in the fashion industry and i was no longer going to go to goldsmiths, and out the window came my stuff. he threw all my stuff out. i picked it up and a cousin of mine and ijust moved in with anotherfriend and never went back home. so... laughs. the interesting thing about that day, talking about sort of fate and... i remember picking up my stuff and going into i—d magazine, where i started sort of talking to terryjones and beth summers, the fashion director, and i told them what had happened, that i'd been kicked out, and that same day, beth summers really told me she was leaving and i was taking over. timing is everything. you write in the book about this era and the parties — the drugs, the alcohol, the intense kind of — you write about it reaching a point where you are soul sick and on a path of self—destruction. it was that? what happened, do you think? yeah, i mean, you know, i was in london in my 20s, you know, i had a greatjob, you know, making bits of money, out all the time. that's what we did at i—d, you know? your teens and your 20s, you go out. you don't need any sleep, you know, you drink, you party and then you come back to work and i did that for so long and then, when i hit the age of 30 i decided, you know what? if i was going to put my life into focus, if i was going to sort of find any kind of success — notjust in work, but within myself as a human being — that i needed to. . .to be clean. you spent 14 years on the alcoholics anonymous programme. yes. basically, i literally had stopped six months before. i literally woke up one day after a party and decided, "you know, this is it. "somebody stole my passport, i'm done." so i was on a plane to new york six months later and a friend approached me on the plane, and i said, "i haven't drank "for six months," and she said, "do you know about aa?" and i was, like, "no, what is that?" and she said, "when you get off the plane, find a meeting "and i think you're going to like it." so i did that, but i was already six months clean, and i found fellowship. i found everybody was sort of even, you know? it didn't matter whether you were the head of a company or someone, you know, who slept on the streets. itjust levelled everybody. and so, i learntjust really about, you know, being with people, being able to be myself, but also, being able to respect people. when you went to really dark places, how bad did it get before you came clean? i mean, it got very bad because you imagine here i was, you know, i lost one home, which was africa, you know, came to england, then i lost a second home when i was kicked out. and then, i went into the gay scene, thinking i'd found my tribe and again, so many rejections. so for me, i was always looking for a home. i was always looking for... belonging. yes! yes, belonging. you've had four eye operations. for someone who depends for their career on their eye, in media and in fashion, that must be pretty scary. i mean, i never had good eyesight anyway — i always had sort of —io glasses — and i had, yeah, four retinal detachments, four surgeries. each time meant three weeks staring at the ground in a dark room and not lifting up your head and, yes, it was very — sort of very psychologically intense. but what i also learnt from that — you don't need perfect vision to create. you don't need 20—20 vision to see images. so that's the irony — even though i have bad eyesight, i'm still able to create images that people seem to — that resonate with people. do you fear losing your eyesight? is that something you have to... i mean, that's my biggest fear, cos i need my eyes to do what i do. so having been through that and survived... your career was flourishing in the early noughties, but you hadn't had much to do with american vogue. and then in 2005, you finally get the call to go and see someone called anna wintour, who a lot of people will have heard of, and you went out to new york. american vogue is very different from the rest of vogue. when you describe in the book your time at american vogue, you say of it that "it was hard not to feel creatively stifled in those years." what did you mean by that? because i'd come from the world of i—d where i could be as creative as i wanted, and before i got to american vogue, i'd been at italian vogue, where we'd create different 30—page stories based around plastic surgery, based around, you know, black models, and then i went to american vogue where there were specific models you had to use and it was quite a strict framework, which i was not used to. but i'm really glad i went through that because that really sort of enabled me to understand the business side of fashion, that fashion wasn't just about fantasy, but it was a business. you say in your book you became known as the guy who shoots black girls. yes, i've always been about different women of all shapes and sizes and race and religion and age. i've always been like that. so when i got to american vogue, i guess it was very — they had their, you know, like i said, they had their box, but i think i was also brought in to break that box because if i wanted black models i got them. if i wanted this model, i got her. how did that make you reflect on the public difficulties conde nast had a few years ago where some employees said it was a place hostile to diversity. i think that public reckoning was notjust conde nast, it was every company. not only just the fashion industry. the brilliant thing for me was seeing people address, finally when people talk about unconscious biases, when people talk about treatment in the workplace that it is true. so a lot of companies made all these pledges to minorities and i think conde nast, yes, there were problems there but it reflected the wider world. there is obviously endless speculation about how long anna wintour, who is now 72, will carry on and a lot of rumours online, possibly baseless, that she will step down soon. don't listen to rumours. but, this is a hypothetical — if asked to go and be the editor of american vogue to replace anna wintour, that would be a huge honour, wouldn't it? i don't know. people love to speculate about mine and anna's relationship but what i can tell you is that i am happy doing what i'm doing right now working with british vogue and overseeing the european vogues. it would still be a pretty good job, wouldn't it? i'm very happy right now but you never know what the future holds. i am always open... ..to opportunities. ..to discussions about it. 0k. have you had talks about it? laughs. stop it! you don't speak for the whole fashion industry, you're not a corporate spokesman. but one critique of the fashion industry broadly has been that it has, for too long, promoted a very narrow conception of beauty. if you like, a eurocentric or western one. for years there a very narrow ideal of what a fashion model should be or what a fashion magazine, who should be in a fashion magazine. i love beauty in all its shapes and, you know, all its colours and i want those people reflected in the magazine. itjust did not make sense to me business—wise or culturally not to reflect the world we lived in. let me put to you one other critique of the industry that there is a growing amount of concern about the impact of fashion on the environment, that it costs the earth, basically. the charity 0xfam says that fast fashion produces more carbon emissions per minute than driving a car around the world six times and according to mckinsey, the consultancy, just one industry, fashion, accounts for 4% of global greenhouse emissions, as much as france, germany and the uk combined. that is an extraordinary impact, often on items that are wasted or disposed of. are you concerned that fashion is costing too much for the earth? at the moment the biggest conversation in fashion right now is about sustainability and how, what we can do to save the planet. for me, if you look to one of my issues, i had taylor swift on the cover and my motto is, "buy better, buy less." let's not buy things every day that will pollute, will end up in landfill. let's buy better things you can pass on to generations. these conversations are so paramount in the industry right now. it is impossible to talk about what you have done at vogue without talking about the guest editing that meghan markle did. this occupies only a couple of pages in your book, you describe her as a phenomenal editing partner, but as everyone has noticed, as is often the case when she is involved, a lot of people have offered their opinion about what goes on and it is only reasonable given the amount of commentary and that some of it relates to you, that you are given the opportunity to set the record straight on a couple of things. two suggestions that have been made in public are that, firstly, you were asked to delay publication in the uk by a day to give american media a 24—hour head start. what?! is that not true? not true. because that has been published. how do you respond to that when you see it published? the issue? people say, there was a suggestion in a book that was out recently that meghan�*s team asked you to delay publication in the uk by a day to give american media a 24—hour head start. not that i know of. you havejust told me something. and to what extent did the royal household, which meghan was a part of at the time, try to take control of promotion of the issue? you know, vogue is vogue. nobody told us what to do. we have our deadlines, our drop dates, our social media dates, so nobody interfered with us. was the stress of that edition worth it? for me, i am all about representing the zeitgeist and reflecting what is going on in society. and at that moment in time, you know, she was the zeitgeist and we had to report on it. that is very important to me. to reflect the moment. the cover of september's vogue features linda evangelista again. in recent years, linda evangelista has gone from being one of the most photographed women in the world to perhaps one of the least after big complications with cosmetic surgery. why did you put her on the cover? it was sad for me to see my friend, who i love, just disappear from the world because of, you know, all she went through with plastic surgery. it was really hard for her and anybody who knew her. so when it came out and she told the world why she had not left the house, itjust made sense, for me, to have her on the cover because she is the ultimate model's model and she wanted to look a certain way, she wanted to be the linda that inspires everybody. she wanted to be that again and i was not going to argue against that. i gave her what she wanted. i will never tell a woman whether to have plastic surgery or not. that is her decision. but i saw her go through the hardships and i am glad i was able to help her overcome the pain that she'd been through. the last few years have been very intense for you. you've been at the helm of the magazine through the pandemic and you also just had a very special year where you celebrated your 50th birthday. and you got married. finally! after 20 years together! congratulations. how did that happen? who proposed to who? or was it unspoken? i had been proposing forever and apparently i was not doing it the right way. but my husband, alec, is so wonderful. he knew i had a special birthday coming up, so i got married on my birthday. i should make clear for people who have seen the early part of this interview, you are now, your relationship with your father is back on track. you are talking to him again. you had 15 years where you didn't speak to him. but today you are speaking and he must be extremely proud of you. well, he tells everyone he's proud. you know african fathers, he would never tell me but i know he is. he tells my friends, siblings, etc. let me ask you some quick—fire questions. maximum ten words, minimum one. this is always the best bit. what was the first record you ever bought? whitney houston. who is your greatest hero, living or dead? nelson mandela. who is yourfavourite model? laughs. i can't answer that one. what is the biggest fashion faux pas to avoid? i always say leather leggings. how often do you go to the gym? every day. do you eat meat? yes. what time do you wake up in morning? 5:30am. why? unfortunately i don't sleep very much. do you believe in god? yes. what is your favourite indulgence? chocolate. do you still read a physical newspaper? not as often as i used to. but only because i had eye surgery four times so it is quite hard sometimes to see small print. what technology do you find indispensable? my phone. what car do you drive? i don't drive, never have. are you shy? very. not as shy now as i was when i was younger, but yes. have you enjoyed this interview? you are my favourite interviewer in the world. that is the right answer. final question. what advice would you give to that young man who came from ghana arriving in south london in the mid—�*80s, hoping to make his way in the world? don't be scared. you belong. and everything will be ok. let's be frank about this. you are, in many ways, an unlikely figure. your story is remarkable. to what extent do you see yourself, a former asylum seeker, working class, black, gay man, to what extent do you see yourself as someone who wants to be an agent of change? do you wake up in the morning thinking you need to change the fashion industry, to change the media, that there is work to be done? i do not wake up thinking, "i am here to change the world" but i wake up thinking that maybe i could make the world a better place byjust reflecting my idea of what the world should be, you know? i shouldn't be here, you know? i was from a country where we had to flee, so every day is a thankful day and every day i try to think of what to do in the world that will make a difference. edward enninful, it is a real pleasure. so lovely, thank you so much. thank you, i really enjoyed it. thank you. thank you so much. hello there. 0utdoor events like halloween and bonfire nightjust around the corner. and if you're thinking about grabbing the scarf and gloves, think again. it's going to stay very mild indeed. these are temperatures that we should be seeing around the end of october, but what we are likely to get with above average temperatures even as far north as scotland. but we could see highest values of 22 degrees somewhere across the southeast — that's 72 fahrenheit. and why? well, because of the wind direction. coming all the way up from the south, it's dragging in this warmer air all the way from africa. and it's notjust the uk. large area of high pressure keeping things very dry, very settled and very mild across central europe. we unfortunately won't see the drier weather because all the time, these areas of low pressure will bring outbreaks of rain and strong winds from time to time. so first thing in the morning, there'll be outbreaks of rain across southwest england and wales, a lot of low cloud around as well. a very mild start. misty and murky. 0ur rain becomes quite showery as it pushes its way steadily north, masking early morning sunshine across parts of aberdeenshire by the end of the day. but we should see an improving picture generally across england and wales. maybe the risk of a few isolated sharp showers in the southeast, but with the sunshine, that's where we're likely to see the warmth, highs potentially into the low 20s. more wet weather to come on friday, some of it heavy and windy with it, too. not for all, but the heaviest of the rain is likely to be out to the west, and that'll be accompanied by gale force gusts of wind on exposed coasts and some pretty rough seas here. now that rain and the strong winds will gradually drift its way northwards during the day on friday, again allowing for lighter winds, more sunshine. and again, those temperatures pretty good for the end of october. more of the same as we head into the weekend. not a wash—out by any means, but there will be outbreaks of rain. and at times, once the rain passes through, we'll see those isobars squeezing together, the winds picking up. but there will also be some sunshine as well, so it's a very messy story this weekend. keep abreast of the forecast, particularly for sunday. but generally there will be outbreaks of rain. there'll also be some sunshine, but one unifying factor — mild for all.