I’ve been designing since I was 8. I started sketching dresses I could wear when skating. I was always involved in all aspects of skating, not just the technique, the choreography, the music, but the visual aspects, too – what I should wear.
They never ask the celebrities why they don’t wear their own clothes on the red carpet.
I wanted to define the vocabulary of a wedding both visually and intellectually. The book is about more than weddings or wedding dresses. It’s a metaphor for women’s lives, their creativity.
As the mother of two daughters, I have great respect for women. And I don’t ever want to lose that.
I never thought I’d be successful. It seems in my own mind that in everything I’ve undertaken I’ve never quite made the mark. But I’ve always been able to put disappointments aside. Success isn’t about the end result; it’s about what you learn along the way.
It’s hard to balance everything. It’s always challenging.
In the dream world of Matisse and the gritty reality of American frontier, the diversity of women in our society offers the chance for greater exploration and even greater inspiration.
It’s a remarkable exercise to sit and look at your own work over the years.
The key is falling in love with something, anything. If your heart’s attached to it, then your mind will be attached to it.
I was an art history major, but never specifically contemporary. I would say where I really stopped were the abstract expressionists in the New York school.
Design is about point of view, and there should be some sort of woman or lifestyle or attitude in one’s head as a designer.
Even the most understated ceremony involves a certain respect for ritual and pageantry. No one plays more of a significant role than the bride’s attendants.