Misan Harriman, Photographer

Vogue September Cover Achievement: Anne Harriman became the first Black photographer to shoot the cover of British Vogue in its 104-year history.

• Origins of Commission: The assignment followed the viral spread of Harriman's civil rights imagery shot during the June 2020 Black Lives Matter protests in London following George Floyd's death.
• Editorial Decision: Edward Enninfield, Editor-in-Chief of British Vogue, viewed Harriman's online posts, which were also shared by figures like Lewis Hamilton and Martin Luther King III, and selected her to tell the September issue's story.
• Immediate Reaction: Harriman received the offer via a Zoom call; she focused on maintaining composure during the meeting, noting the surprise of so many industry figures joining.

Background and Artistic Development:

• Self-Taught Journey: Harriman, who identifies as dyslexic, began photography late after overcoming imposter syndrome, encouraged by her wife to "fail" if necessary.
• Learning Method: She taught herself via YouTube tutorials and began by photographing family and friends before her work gained traction.
• Cultural Influences: Her aesthetic is shaped by a dual heritage of Nigerian culture and English boarding school education, citing influences from filmmakers and photographers including Elliot Erwitt, Gordon Parks, and Sally Mann.
• Music as Foundation: Her artistic perspective is informed by a wide range of music genres, from Fela Kuti and Nina Simone to Joni Mitchell and hip-hop.

Reflections on 2020 Activism:

• Visible Trauma: Harriman observed that the protests brought to light hidden emotional wounds within the Black community.
• Source of Hope: She found renewed optimism in the "allyship and solidarity" displayed during the London protests, particularly by young Black women aged 19–21 who organized logistics, safety, and food.
• Perceived Goodness: Her documentation of the protests led to the conclusion that "inherently most people are good."

Institutional Change and Diversity:

• Role of Technology: Harriman attributes the potential for lasting change to the internet, which amplifies collective voices to millions, unlike previous generations where dissent was isolated.
• Corporate Incentives: She notes that large institutions are now compelled to act on race equity for "optical" reasons and to avoid reputational damage.
• Leadership Necessity: Harriman argues that diversity initiatives fail without diverse leadership, citing Enninfield's presence as the catalyst for her own hiring and the subsequent "trickle-down effect" in her own business hiring practices.
• Hiring Philosophy: She advocates for broadening recruitment beyond "Oxbridge or favored universities" to include candidates with lived experiences of racism to foster genuine empathy and understanding.

Black History Month and Education:

• Primary Purpose: Harriman views the month's most critical function as a period for non-Black individuals to "unlearn" presumed knowledge regarding the slave trade and colonial history.
• Educational Gaps: She highlights that even attendees of top private English schools are often not taught Black history, necessitating active "unlearning" by Black individuals themselves.
• Alternative Activism: She posits that educating oneself through podcasts and books is as effective, if not more so, than physical protest for those lacking historical context.

Future Professional Goals:

• Business Scaling: Harriman aims to scale her media business, "We See," to effect tangible cultural change similar to the impact of Vice and BuzzFeed.
• Filmmaking Ambitions: She intends to expand into documentary and feature filmmaking, aspiring to follow in the footsteps of Gordon Parks and Steve McQueen.
• Prison System Reform: She and her business partner Trevor are lobbying the UK Home Office to install intranet access in prisons to provide inmates with curated educational and cultural content, arguing that while bodies are shackled, minds should be free to grow.