Social media and technology are democratising and opening up fashion and the process of fashion for all - this has good and bad sides, but that comes with any change.
— Edward Enninful
The white T-shirt is like a blank canvas - eternally versatile.
Most of the time, working as a stylist, you're at home, working on your own, researching.
People of power have to show empathy and kindness to the young.
Growing up, I loved the imagery I saw from America as it celebrated being the land of the free and home of the brave.
Kurt Cobain really made an impression on us. He just had that rebel attitude. You could tell he was super talented but didn't really care.
I take random inspiration from everywhere.
My memories of London Fashion Week are of starting out and not getting many tickets for fashion shows, but wanting to see them so much that I'd sneak in with my friends, people like Pat McGrath and Craig McDean.
I didn't grow up with money; I didn't come from a rich family. But what fashion gave me was an escape into a world of creativity: if I couldn't afford that Junior Gaultier jacket, then I'd get one from the market and customise it.
I'm just propelled by insecurity; that's what really leads me to want to do better.
If you put one model in a show or in an ad campaign, that doesn't solve the problem. We need teachers in universities. We need internships. We need people of different ethnic backgrounds in all parts of the industry. That really is the solution: you have to change it from the inside.
I've learned to put a big value on having a life outside of fashion, and I think that's what's saved me, because the fashion industry can suck you in.
I'm so fascinated by the influence of social media on fashion. I've seen so many artists on Instagram, up and comers you would have never known otherwise.
A lot of my friends, we all grew up sort of not very wealthy. And in England, whatever ends up being a negative, that's a positive.
I grew up reading 'British Vogue' - I am so honoured and humbled to be taking up the mantle of editor.
For me, fashion succeeds when it says something about the times we live in.
I was really sheltered growing up, with six brothers and sisters. We played together all the time, and I was living in a fantasy world, like most creative people.
You could say slowly but surely, the world is changing in a good way - equality in all forms is more and more part of the global conversation, and people are celebrating diversity and individuality.
The more you style, the better you get. Don't give up. At a certain point, the magic happens.
I want 'Vogue' to feel like a shop that you're not scared to walk into, one that's quite welcoming.
Diversity is very important for me.
I love the optimistic American style that Gap celebrates and the simplicity of the basic white T-shirt that allows you to be yourself.
The funny thing is that the fashions from the '90s seem to sit so well with the fashions of 2016. Everything from then somehow skipped and came back.
With Rihanna, it's always a collaboration, and that's why I love her so much.
I think fashion can tell a story about celebrating difference, can talk about how different people are, how diverse people are - and for me, that's where fashion really succeeds, when it tackles things to do with the world we live in.
I realise I am stepping into the shoes of a hugely respected editor in the shape of Alexandra Shulman, someone who has chosen to leave at the top of their game with a legacy of 25 years of success.
I don't think I'm in any way an icon, to be very honest.
I feel like when it comes to the models, certain models are now like commodities in certain ways.
When I was really young, I had an afro and wore pressed jeans and argyle sweaters. In my teens, I moved on to ripped Levi's jeans, white T-shirts, and cowboy boots.
I think if you're really good at what you do, you can see outside the box.
I don't think everything has to be new all the time. You don't have to have the latest designer all the time to look good. Just have things you're comfortable with, have key pieces that you can sort of reinvent over and over again, and always keep things that you really love for a while.
When I started in the nineties, a sample size was a 4 and a 6.
I can't just go in and throw clothes at a picture. I still have to have some kind of an idea of a character, of who she is, where she's from. It's almost like playing a child's game. You have your dolls, and you create characters for them. Fashion indulged that in me.
I'm really excited to see my vision for the 'British Vogue' team come to fruition.
There is nothing more classic in the realm of casual than jeans and a white tee - a look that is inherently Americana and reminiscent of the American Dream - an optimistic dream of opportunity, individuality, freedom, and the embodiment of one living their truth.
I grew up in west London, but my dad wouldn't let me go to school there, so I went in south London.
I'm very protective of all the vulnerable young kids that go on shoots. I can empathize. I've been there.
I can tell you, without diversity, creativity remains stagnant.
I used to wear a lot of Helmut Lang. Painted jeans. Cropped crombies with t-shirts. A lot of V-necks. The perfect V-neck was very important.
It was a whole new attitude: no makeup, less is more... the '90s were fun!
I've always been very fascinated by technology - the Internet, social media.
When you leave your house in the morning, however you dress is the way you want the world to see you.
I get nervous before every shoot. I'm really jealous of the people that can just rest on their laurels and say, 'I'm good; this is it.'
Music, for me, is as important as fashion. The first visuals I remember are Elvis Presley, David Bowie, New Romantics, and different punk bands.
Social media is fine, depending on how you use it.
Coming from a family who put a lot of emphasis on academics, I always thought I was going to be a lawyer.
The best photographers know how to light any color skin.
'British Vogue' is a great magazine with a legacy of creativity and innovation.
My 'Vogue' is about being inclusive; it's about diversity. Showing different women, different body shapes, different races, class. To be tackling gender.
My mother was a seamstress, so I always grew up with her making clothes. I knew how to construct outfits. I knew how to sketch. I knew how to customise. But I could never imagine it as a career.
