Social media is fine, depending on how you use it.

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.