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.

Anyone who knows me knows that I don't know anything about politics. Every time I go to Washington, I feel like I'm in Legally Blonde.

The worst thing is to be a designer and create work that isn't honest. You have to be honest. Otherwise, you'll always be a reaction to what other people do and you'll always be one step behind.

I woke up one day and I was like, "I don't have anything to save for myself for the future." That's when I started archiving things. I take four or five things that are really key to each collection, and I restore them or, in some cases, remake parts of them, and archive them.

I think clothing is transformative. When you put something really beautiful on, you feel something. In so many ways, were always playing a form of dress-up - its just a grown-up, much chicer version of it. Its nice to be able to be whoever you want to be.

As a designer you have to just do whatever you want to do. The second I came to terms with that, it transformed my work.

When I was 12 or 13 I already knew that I was gay. And then my interests were not conventional. So I was very different, in every sense of the word. And in an all-boys school, that's tough.