There was no relationship between a wedding dress and fashion. There was no good taste, either. I realized that I could make an impression in terms of changing and readdressing the whole industry of bridal.
VERA WANGAs the mother of two daughters, I have great respect for women. And I don’t ever want to lose that.
More Vera Wang Quotes
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A woman is never sexier than when she is comfortable in her clothes.
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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.
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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.
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Bridal is always about who you are as a person and as a woman and as a lover and as a mate. People always ask me how a woman can pick just one dress. And the funny thing is they always know.
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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.
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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.
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I brought color to bridal. There was one whole season of blush. If you think about the bareness, the illusion (fabric), the corsets that I did in bridal, they were trends in ready-to-wear, too.
VERA WANG -
I brought color to bridal. There was one whole season of blush. If you think about the bareness, the illusion (fabric), the corsets that I did in bridal, they were trends in ready-to-wear, too.
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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.
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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.
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Fashion to me has become very disposable; I wanted to get back to craft, to clothes that could last.
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I’m not really a girl who likes to go out to lunch or cocktails or store openings.
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It’s a remarkable exercise to sit and look at your own work over the years.
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One thing about skating that I don’t think people focus on enough is the music factor. The music is a huge component of figure skating. It can dictate not only the choreography but the emotion. If it’s not the right music it can ruin a performance.
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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.
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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.
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As the mother of two daughters, I have great respect for women. And I don’t ever want to lose that.
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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.
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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.
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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.
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A woman is never sexier than when she is comfortable in her clothes.
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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.
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When you have a passion for something then you tend not only to be better at it, but you work harder at it too.
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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.
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I was an art history major, but never specifically contemporary. I would say where I really stopped were the abstract expressionists in the New York school.
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We got a lot of letters of people who didn’t like them, like my own family who thought they were unnecessary and unpleasant and taking advantage of women in a sad situation – I never saw that. And I think that sometimes, you have to take a risk.
VERA WANG