I help design my own tennis clothes.
I've always worked closely with the designers and whoever's making the costumes. Comfort is the last thing you want on your mind when you're competing. In an ideal situation, you'll have something where you'll put it on and you're fine and you don't have to worry about it at all.
Before Under Armour, the only choices you had were to wear a short-sleeved cotton T-shirt in the summer or a long-sleeved cotton T-shirt in the winter. Why not make a better piece of equipment for underneath the shoulder pads?
I would love to dress like Beyonce: some custom-print, neoprene onesie with no pants.
I love a beautiful gown on stage, and luckily I've been fortunate to wear some amazing dresses.
A lot of the reason my look is the way it is, is because it's really easy to put on a sundress every night if I have to perform - or just wear jeans every day and a flannel or something.
What I wear onstage is so stylized and bold.
Some of the stage outfits I've got are ridiculous. I'll lay out clothes to pack, and it'll look like Polly Pocket clothing - because it's all stretchy, it's tiny. I don't need a case when I tour; I can fit it all in my handbag.
You're convincing these big, tough football players to wear what was essentially women's lingerie. There was a little bit of a Jedi mind trick that needed to take place. The product really spoke for itself once guys felt it and touched it.
In productions such as 'Anna Bolena' and 'Rigoletto,' the costumes are tailored, and they're tight. In 'Moby,' it's like you're wearing pajamas, and you have more freedom. It's very comfortable on stage.
I definitely like wearing leotards.
For filming, we have to wear a lot more makeup than we usually would. At night, I have to go home and take off all the makeup and take my hair out from my bun and just get out of the dancewear and everything.
If I'm DJing a show, I will normally wear the designer I'm DJing for; if I'm DJing a party, I will most likely be wearing very high heels.
Sportswear and activewear have been evolving over the years, and what makes it interesting is how you reflect the culture in which we're living in - whether it's creating clothing for a certain sport or creating new materials that we think athletes or people who are physical want to wear.
I was very interested in theatre, so my first love of fashion comes from costume, and I think that's pretty clear within my work and the level of theatricality.
I used to apply waterproof mascara before a game - it was the easiest thing to wear while I was playing that wouldn't sweat off - but not anymore.
Every guy has to own a good pair of sweats. Any good workout gear, really.
I wear whatever makes me comfortable on stage, so that I feel confident. Some days it's a plaid skirt with a button-up and other days it's jeans with a hockey jersey and platforms.
Sportswear is great, but not every designer can do tailored.
In public, I like real conservative clothes, something that's not too flashy. But onstage, I like 'em as flashy as you can get 'em.
I love 'Victoria's Secret Sport' because what they do so well is the fit and how it makes you feel. They sculpt all the right parts of your body. Plus, there's so much to choose from - colors, prints, and cool details. It's dangerous - you want everything.
From the beginning I thought about working with the body in movement, the space between the body and clothes. I wanted the clothes to move when people moved. The clothes are also for people to dance or laugh.
I have fun with my clothes onstage; it's not a concert you're seeing, it's a fashion show.
I have my suits especially made in 50 per cent polyester. That way when I'm going to a gig I can just stuff them in a bag, whip them out and they don't looked creased when I'm on stage.
The clothes have to perform for me.
