By people getting together and celebrating this idea of togetherness, great things can happen.
Edward Enninful
I can tell you, without diversity, creativity remains stagnant.
The white T-shirt is like a blank canvas - eternally versatile.
My 'Vogue' is about being inclusive; it's about diversity. Showing different women, different body shapes, different races, class. To be tackling gender.
I like to play with contrast. It's about changing people's perceptions of people.
My mother and father just taught me the basics: to be really kind, to really listen to people. I have never been one to put on airs and graces.
When I was growing up, David Bowie was my idol. I grew up in inner-city London, and he was from Brixton, which is even more urban.
I'm very protective of all the vulnerable young kids that go on shoots. I can empathize. I've been there.
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.
Growing up, I loved the imagery I saw from America as it celebrated being the land of the free and home of the brave.
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'd never seen anything like it in my life. Someone so blatantly challenging the ideas of race and gender and sexuality. In a way, it was comparable to David Bowie, except that Prince brought that to the black community.
The fashion industry needs to breed a whole different way of thinking. We need more diverse people working in all facets of the industry.
I was very honoured to be awarded an OBE in 2016 for my services to diversity in the fashion industry.
Most of the time, working as a stylist, you're at home, working on your own, researching.
Coming from a family who put a lot of emphasis on academics, I always thought I was going to be a lawyer.
I am definitely allergic to wheat. Every time I eat it, I feel awful.
I take random inspiration from everywhere.
There's a lot of research and time that goes into my shoots. I spend weeks on them, even for one picture.
In my work, I have always tried to push the boundaries of what fashion can do.
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.
Being an immigrant and living in England, I feel like I lived in two worlds. There was the world that, when I was at school with my friends, was very English, and then I'd go home to another country, with exotic foods and colours. I have a sense of colour pairings, and that came from my background, I think.
I've always been very fascinated by technology - the Internet, social media.
I didn't know anything about the fashion industry until I met the stylist Simon Foxton on a Tube. I was 16, on my way to Kingsway College, and then my whole world opened up. Before that, like in every African family, you are meant to be a lawyer.
I grew up in west London, but my dad wouldn't let me go to school there, so I went in south London.
I love the optimistic American style that Gap celebrates and the simplicity of the basic white T-shirt that allows you to be yourself.
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.
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.'
For me, fashion succeeds when it says something about the times we live in.
Social media is fine, depending on how you use it.
When I was 18 years old, I moved into Neneh Cherry's house in Kensal Rise with Judy Blame and our friend Michael Boadi.
Never forget that it sometimes takes a foreigner's eye to capture Britain most clearly.
People like me thought America was the best place to be creative, to be free to create, to have the freedom to be who you are.
I felt like I grew up with Bowie. I never dressed like him, even though I did love the music, but consistently throughout my career he has been a go-to reference point: The suit from 'Young Americans,' or the gold Missoni-type looks of Ziggy Stardust. 'The Berlin Years' still influences me.
You never know where inspiration is going to come from.
I'm very proud of the world that's embracing all these different ideas of what it is to be diverse, in 2017.
When you start out in the industry and things are tough, and you're not really making money, you question yourself: should I give up?
A queen does not wear clothes off the runways.
Change always takes time.
I learned that fashion was about more than fancy images. That there was a business side as well.
Prince was not scared. The first time I heard someone sing about AIDS, it was Prince: 'In France, a skinny man died of a big disease with a little name.' He was not afraid of taboos.
I am black in a predominantly white industry, and I have been luckier than most.
I grew up in an African household, so lots of chicken, lots of rice. We ate Jollof rice, a very West African dish.
I come from a family who didn't have much money but raised me to believe that money wasn't the most important thing in the world. We had enough; we were happy.
I'm really excited to see my vision for the 'British Vogue' team come to fruition.
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.
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.
When I started in the nineties, a sample size was a 4 and a 6.
I grew up reading 'British Vogue' - I am so honoured and humbled to be taking up the mantle of editor.
'British Vogue' is a great magazine with a legacy of creativity and innovation.
