It's a remarkable exercise to sit and look at your own work over the years.

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.

Whether you are a skater or a dancer, without sounding narcissistic, it is all about looking in the mirror. Where I used to practice in New York City, there was a mirror so you could actually watch yourself skate. And nowadays my golf teacher will film me swinging so I can see what I am doing. Having looked first at myself and my own body for so long as one does as a dancer and a skater, it was so natural to do fashion.

Certainly a big challenge for me with evening-wear is to make it look modern and artistic and avant-garde. The very concept of a ball gown is not in itself a modern concept, and women need to wear that for a certain presence in Hollywood. I'm also aware that a starlet might go to more than one place that night so the piece could also offer, maybe not a revolution, but an evolution.

I do speak Mandarin, and I also relate to the hunger that China has for culture and architecture and style.

I love the focus and bravery of European designers, but I love the nonchalance and throwaway aspect of America that has made Ralph Lauren and Calvin Klein two of the greatest icons. I try to bridge those two worlds in my work. The clothes may be couture on the runway but there's an attitude that's very street and that comes from America.

I was trying to manage school and training for the Olympics and ended up not doing well at either. That was a big lesson in my life. My mother expected both.