As a boy growing up on the Wirral, Alec Maxwell would tape episodes of Top of the Pops and The Chart Show off the television on a family video recorder. Initially, the thrill came from watching Michael Jackson or whoever else it happened to be that week lip-synching away in their glammed-up, shiny finery. However, as the young Maxwell grew increasingly adept at pressing record and pause at just the right time to capture one performance and segue straight into another, the anticipation and pleasure shifted to the act of recording itself, to understanding and appreciating the power of the edit.

“Recording was a kind of seed in my mind of the possibilities of things like editing,” he remembers now. “But it was all much harder to find. You had to wait for the moment, whereas now it’s waiting for you. But back then, I knew the schedule of those moments, and I was there ready for my fix of certain people and always looking for different people.”

It was an enthusiasm that would ignite and underpin a creative career that has taken him from fashion design to film production and now, along with husband and former British Vogue editor Edward Enninful, to EE72 (Enninful’s initials and birth year), a global media company that has just published the second edition of its quarterly print title, 72.