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Louboutin's career has taken some unexpected turns, including interning as a teenager at the Folies Bergere music hall theater in Paris. The experience was instrumental to the development of his design aesthetic."The shoe is so important because it shows the posture," he said of the footwear worn by showgirls. "It has to be comfortable ... but it has to give the perfect shape and elongate the legs to the maximum."At a time when makeup commercials highlight a product's color-matching abilities, and even Crayola crayons come in a variety of skin-mimicking hues, fashion designers have seemed to largely ignore the fact that "nude," a synonym for skin, comes in many colors.

He has elicited the most frenzied attention to soles since the days of Adlai Stevenson. People make marriage proposals in his boutiques. There is a Louboutin manicure, in which the underside of the nail is painted with scarlet polish. Last season, Racked, the shopping Web site, live-blogged the Louboutin sample sale: "9:02am: Staffers keep shifting the line location. Now we're standing on 38th Street, like ON the street behind those big orange barriers used to designate construction zones." On "So You Think You Can Dance," Jennifer Lopez emerged from a giant shoe and performed a song called "Louboutins": "Watch these red bottoms / And the back of my jeans / Watch me go, bye baby."As far as Louboutin knows, the princess never acquired a pair, but thousands of other women did. Later she gave him another idea - cleavage shoes."People had a really hard time with toe décolleté back then. Especially the French. My God, you couldn't even sell French women a sandal because they didn't have pedicures and their feet were terrible.'

And last year the shoemaker accused designer Yves Saint Laurent of copying his celebrated red-soled footwear, when he used a similar theme in his 2011 resort collection.That lawsuit resulted in a high-court appeal case in the US, the verdict of which is yet to be decided.Earlier this year, Louboutin told French newspaper Libération why the cause is important to him and his brand identity and that he is aware he cannot 'monopolise' a colour.You can't stump one of the world's most sought-after shoe designers on the subject of cinema. Like so many of Christian Louboutin's interests—which range from the artisans of Damascus to the flying trapeze to his homes in Portugal, Egypt and Syria—his passion for film knows no bounds. "When I bought the Hollywood store, being a French person, of course I thought of this as the capital of cinema and in a way the capital of glamour," he says, referring to his latest boutique, a refurbished stand-alone house on Robertson Boulevard. "So my idea was to design a remembrance of Hollywood studios. I started with a gate like the Paramount Pictures gate, and then there is also a wonderful staircase that's very Gloria Swanson in Sunset Boulevard."

While he's clearly fired up about the future, Louboutin is much more hesitant to discuss his astounding success to this point. (Annual sales have surpassed $300 million and continue to grow in the double digits.Louboutin's aesthetic is part Marie Antoinette and part the Mummers. He has covered shoes in gold studs (a recent boot brought to mind an abacus), dotted them with googly eyes (he got the idea from a greeting card), and topped them with plumes (a pointy-toed stiletto looks as if it had tussled with Tweety Bird). But, beyond adornment, what draws the eye to the Louboutin foot is its silhouette. On a shoe he made last year, a spike juts from the top of the foot like a rhinoceros horn. A parabolic pump called the Daffodil appears to have been conceived in a fun-house mirror. Louboutin is fond of protrusions and cantilevers, of big toe boxes like the prows of ships, of bulging heel cups and plunging cleavage (his décolleté is that of the toes).

One of his most popular designs is the Very Privé, a sinuous high heel with an open toe and an extreme, hidden platform. Before the Very Privé, which he first issued in 2006, Louboutin was less well known than his main competitor, Manolo Blahnik. The Very Privé was Louboutin's iPod, its futuristic contours rendering everything that came before it fuddy-duddy. With several swoops of his pen, he had managed to make Blahnik's princessy slingbacks look as if they were meant for ladies who spend their days eating charity lunches of chicken salad and melon balls. The Louboutin woman might order a rare hamburger. "I'll do shoes for the lady who lunches, but it would be, like, a really nasty lunch, talking about men," Louboutin said. "But where I draw the line, what I absolutely won't do, is the lady who plays bridge in the afternoon!"Earlier this year, I had the pleasure of interviewing legendary shoe designer Christian Louboutin. He was in India to launch his new Mumbai flagship in Horniman Circle, an area with stunning heritage buildings that is beginning to show potential of becoming an epicentre of luxury retail in south Bombay.

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