of as two icons in fashion. icons. i just want to ask you about what makes them successful. let s start with kate moss. you knew her in the early days. i met kate when i was 16 and she was 1a and we went to a casting, and i remember she walked in and she literally charmed the whole room. the energy as well as the beauty. she s uniquely herself. and naomi s always been the same. she was always outspoken. naomi always thought she was going to be a star from when she was a baby and she is a star but, you know, they really are who they are authentic. you also were defining your own sexuality and being open about it. you had a girlfriend who was another model and then, simon foxton took you to more gay bars, like heaven. you describe this in the book very beautifully, if i may say where you talk about how, just as i had found myself in fashion, which is what i wanted to do in the world, now i was discovering more intimate terrain. i felt free and scared and excited. but how d
have you had talks about it? laughs. stop it! you don t speak for the whole fashion industry, you re not a corporate spokesman. but one critique of the fashion industry broadly has been that it has, for too long, promoted a very narrow conception of beauty. if you like, a eurocentric or western one. for years there was a very narrow ideal of what a fashion model should be or what a fashion magazine, who should be in a fashion magazine. i love beauty in all its shapes and, you know, all its colours and i want those people reflected in the magazine. itjust did not make sense to me business wise or culturally not to reflect the world we lived in. let me put to you one other critique of the industry that there is a growing amount of concern about the impact of fashion on the environment, that it costs the earth, basically. the charity 0xfam says that fast fashion produces more carbon emissions per minute than driving a car around the world six times
and croatia begins the new year with a new currency switching from the kuna to the euro. now, the arts interviews: edward enninful. as editor in chief of british vogue since 2017, edward enninful has challenged convention not least by increasing the number of black and older women in the magazine. he s reached the summit of international fashion and media while battling depression, alcohol problems and a sickle cell condition. it s a long way from his childhood in ghana, which his family fled during the political turmoil of the mid 1980s, landing in south london at the height of social unrest
and really, that was my entry into fashion. and a few weeks later, you were doing a shoot with the great nick knight, a photographer who you are still loyal to today he s shot covers for you. and you worked for i d magazine. you were fashion director at the age ofjust 18. i d magazine was legendary. why did i d magazine have such an outsized influence on the culture back in that era? because we re talking, what? late 80s, early 90s. because terryjones, who s still at i d, was the art director for british vogue. and he looked around the streets and saw so many incredible people from different races, you know? different ages, not being reflected in sort of the big magazines at the time. so, he decided to set up a magazine to document youth culture a magazine run by young people for young people and so, that s why i d was so influential. you came of age in fashion in a sense at the same time as people like naomi campbell and kate moss, who people watching now will be aware
tribe and again, so many rejections. so for me, i was always looking for a home. i was always looking for. belonging. yes! yes, belonging. you ve had four eye operations. for someone who depends for their career on their eye, in media and in fashion, that must be pretty scary. i mean, i never had good eyesight anyway i always had sort of 10 glasses and i had, yeah, four retinal detachments, four surgeries. each time meant three weeks staring at the ground in a dark room and not lifting up your head and, yes, it was very sort of very psychologically intense. but what i also learnt from that you don t need perfect vision to create. you don t need 20 20 vision to see images. so that s the irony, even though i have bad eyesight, i m still able