Liz Collins: Exactly. I want that experience for the person. And I've had the experience many times of watching someone pull something off a rack, and put it on in a way that I had never planned. And in a way that became better than I had ever planned. And I love that freedom that any person has who believes that clothing is a means of self-expression. To put something on in a unique way, and even though the garment already exists as a garment, there is still some kind of room for the person to interpret it, maybe they can wear it ten different ways, which I love. Because then it can become a skirt or a dress or a cape. That's fine. And then, some of the pieces I was doing earlier are kind of a romantic bondage wear somehow.

A lot of pieces have multiple ties. Actually, I have a few that I'm working on -- there are lots of ties and so you might not be able to put it on by yourself. You might have to have someone help you. And that means that they have to actually bind you into this thing by criss-crossing and tying you up, until you're wearing something that's fitted comfortably, but you're bound. I like that.

It's kind of soft bondage. I'm not so inspired by the conventional image of bondage wear. You know, the black patent leather. There are other ways to kind of get to that place.

Gina Pia Cooper: I see you are creating a secondary line called Knitting Nation. Is that true?

Liz Collins: I'm actually segueing into it now, with my felt lace pieces. Some of the lower priced ones will be in the Knitting Nation category, as will the scarves. 

So it's just a way for me to start to separate techniques, price points, thoughts. Since I have so many different ideas, and it's a challenge for me to stay focused and say OK, now you're not going to do the chiffon layering over the knit, because it's so different from this other style. And either finding a way to integrate those, or just being patient and taking one idea and going through one collection. Putting the other one on the back burner and bringing it back. Or maybe I just make a separate line, so that's a way of trying to open that space up for myself.

It's a little confusing right now, because it's hard for me to say like "OK, this is a Knitting Nation piece, and this is a Liz Collins piece, just because it has these furry little tassels on it." Even though the body's really the same. But I think in the end that might be what happens.

Another future plan I have is to get into higher priced, couture gowns. Really special. Beautiful. One-of-a-kind pieces. I do a little of it now. But I'd like to spend 15 hours. And that's nothing. But I'd like to spend that much on one dress, and when I get my business under control, and have enough people making the other stuff, then I can go and explore that side a little bit more. I'd love to.

At this point, I'm trying to get my name out there, and so more work is better. In my mind, that seems to be the way it's working best. But I really would like to have those special dresses.

Gina Pia Cooper: And would you include in that category bridal gowns?

Liz Collins: Oh, yes. Oh, my God.

Gina Pia Cooper: Can you imagine?

Liz Collins: Yes. I have. I've almost made a couple of bridal gowns, but then my friends end up canceling their weddings.

Gina Pia Cooper: Oh, dear!

Liz Collins: I know. I know. My group of friends is funny. It just so happens that no one's ended up getting married after all, or they've gotten married in two weeks or something. So yes. Bridal gowns. I mean, that ritual and what's around it. That's all a part of what I'm thinking about, and the transformation that comes from that kind of commitment, and just the theatrics of the event. So, sure.

Gina Pia Cooper: I can't wait to see the first Liz Collins bridal gown.