It's for all the women who embrace my aesthetic, but can't afford a Vera Wang dress. If women can get anything out of it - a little bit of me or a lot of me, that's what's important.

All those years of skating and dancing have carried over. I can't design anything without thinking of how a woman's body will look and move when she's wearing it.

Just because you're from a city ten miles outside of St. Paul. It doesn't mean you don't read magazines, or the incredible Internet, and what's going on in the world. I never, ever take a client, or women, for granted.

New York for me is about work. If L.A. were to become a West Coast version of that, I'd shoot myself. The climate, the lifestyle - it really fits as the yin to my New York yang.

I started at the very highest level so the upper end is something I know very well. I know it instinctively. But all the years I was designing, it frustrated me that I could reach so few women. 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. So my being able to reach the masses was something that meant a great deal to me - especially for women who could never wear Vera Wang.

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

It's kind of hard when your moniker is "bridal" and "evening" for people to understand that I don't run around in a bridal gown all day, nor do I run around in an evening gown. I run around in clothes that resonate for me. I wanted to do those clothes in my ready-to-wear collection - because I don't know how you can be a woman designing for other women and not relate it back to yourself.