For a while, I just thought that I wanted to be an illustrator because that's all I wanted to do. I also did some sculpting. It was always very artsy and very feminine, everything that I did.

I realized the importance of archiving. So I save key pieces from my collections, as well as any red-carpet things that become iconic. I always ask for that stuff back. I'm like, "It's going in my archives."

It's nice to be able to be whoever you want to be. I moved to New York for that reason. I think I am a very good example of how you really can do whatever you want to do without having any kind of prerequisite experience of any of kind of connection. None of my family members came from this world.

In American culture you leave home at 18. In the Asian culture, your parents don't really want you to leave home. So my parents just thought I was going to be one of those kids. I was like, "I'm never going to make a living at whatever I do." I just liked pretty things.

The polishedness and the sophistication were what I was interested in. I mean, give me a polka dot, a floral print, a pleated dress, a big fur coat, that was always my language, and it wasn't very "in" when I was starting out, so I had a difficult time in the beginning.

My inspirations come from everywhere. It's important to look at everything and anything.

I don't collect things per se, but I do pick up things as I go. Like, in my studio I have an old sewing machine from Germany that my dad gave me, and then something else that I got from a friend in India, and a piece of flooring from one of my shows.