British - Designer | 1972 -
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.
Edward Enninful
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I feel like when it comes to the models, certain models are now like commodities in certain ways.
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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.
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Music, for me, is as important as fashion. The first visuals I remember are Elvis Presley, David Bowie, New Romantics, and different punk bands.
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I don't think I'm in any way an icon, to be very honest.
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I'm just propelled by insecurity; that's what really leads me to want to do better.
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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.'
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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.
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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.
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When you leave your house in the morning, however you dress is the way you want the world to see you.
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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.
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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.
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