When I design a wedding dress with a bustle, it has to be one the bride can dance in. I love the idea that something is practical and still looks great.

Don't be afraid to take time to learn. It's good to work for other people. I worked for others for 20 years. They paid me to learn.

When I decided to get married at 40, I couldn't find a dress with the modernity or sophistication I wanted. That's when I saw the opportunity for a wedding gown business.

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.

A woman is never sexier than when she is comfortable in her clothes.

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

I adore the challenge of creating truly modern clothes, where a woman's personality and sense of self are revealed. I want people to see the dress, but focus on the woman.

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.

I work with structure, but I go outside the box and give it my own spin. I adore the challenge of creating truly modern clothes - where a woman's personality and sense of style are realized.

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.

I see myself as a true modernist. Even when I do a traditional gown, I give it a modern twist. I go to the past for research. I need to know what came before so I can break the rules.

To me, eyewear goes way beyond being a prescription. It's like makeup. It's the most incredible accessory. The shape of a frame or the color of lenses can change your whole appearance.

Fashion offers no greater challenge than finding what works for night without looking like you are wearing a costume.

When I design a wedding dress with a bustle, it has to be one the bride can dance in. I love the idea that something is practical and still looks great.

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.

As the mother of two daughters, I have great respect for women. And I don't ever want to lose that.

All I did my first year at Vogue was Xerox.

Although in skating you compete with other people, anyone who achieves a certain level of success is first and foremost competing against themselves. And for me the idea that I could always do better, learn more, learn faster, is something that came from skating. But I carried that with me for the rest of my life.

Although in skating you compete with other people, anyone who achieves a certain level of success is first and foremost competing against themselves. And for me, the idea that I could always do better, learn more, learn faster, is something that came from skating.

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.

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.

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.

Fashion to me has become very disposable; I wanted to get back to craft, to clothes that could last.

Figure skating has been a great influence for me. I took dance at the School of American Ballet, which helped my own skating. And whether you are a skater or a dancer, without sounding narcissistic, it is all about looking in the mirror.

I always see where I didn't do things the right way. I only see the heavy lifting. That's a bit of my wisdom, if you want to call it that.

I am not the sort of woman who would wear high heels with a bathing suit. Let's get that straight right now.

I do think I know more about clothes than any 500 designers, because there's nothing like wearing them. You buy them, you study them, and you start to understand how they're crafted.

I like the gritty parts of fashion, the design, the studio, the pictures.

I love a black wedding dress.

I love to design things that people can actually buy. I'm staggered by what a boot costs today.

I make things of my own that aren't that glam, but I'm not known for that, which has always been a bit of a frustration for me.

I was a total fashion insider who became an outsider when I did bridal.

I was the girl who nobody thought would ever get married. I was going to be a fashion nun the rest of my life. There are generations of them, those fashion nuns, living, eating, breathing clothes.

I'm not really a girl who likes to go out to lunch or cocktails or store openings.

It takes tremendous will to compete in any athletic endeavor, so it meant going to bed early and getting my homework done in advance. I had to sacrifice things, like a social life, to be a skater at 15. But I loved skating so much that it was worth everything to me.

It's hard to balance everything. It's always challenging.

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.

Let's be realistic, how many people are buying a $2,000 skirt? I love to design things that people can actually buy. I'm staggered by what a boot costs today.

My bedroom is my sanctuary. It's like a refuge, and it's where I do a fair amount of designing - at least conceptually, if not literally.

My closet is organized by tops, pants, and outerwear, but not a lot of dresses. Gowns are in another room because I don't often dress formally, even though I design gowns. Like most designers, I have a uniform, and mine is a legging.

My evening really begins when I take a long, hot bath. I light a candle, and I turn on the news and try to catch up. It's when I can breathe from the day to the night, and that means a lot to me.

My mother is the reason I'm in fashion. She worshiped it. Unfortunately, she infected me.

My mother was extremely controlled, sort of flawless. And I always tend to be a bit more hippie.

My normal routine is pretty much putting out fires all day.

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.

People get very trapped where they are. When they hear 'fashion' they get intimidated, particularly at the upper end because it's so elitist.

Success isn't about the end result, it's about what you learn along the way.

That was a major goal for me - to be able to reach and encourage more women, to encourage them to express themselves and be what they want to be. People get very trapped where they are.

The funny thing is that I'm the girl who no one sees at the beach. Ask anyone who's traveled with me. Normally, I'm in so many layers, I look like Lawrence of Arabia!