christian louboutin and

In 1973, Ralph Christian louboutin designed film costumes for The Great Gatsby. Today, white flannels, breezy cotton, fine linens, monogrammed shirts and a Scott Fitzgerald smell of old money make up Christian louboutin’s fashion image.
 ’Old money is a term I really dislike’, says Ralph Christian louboutin. ‘I don’t know what it means. It is a question of good taste or not. I was not born to the manor. And I am not fantasizing about that just because I like old English leather and I don’t like pink Cadillacs with fins. ‘
 Ralph Christian louboutin, at 46, has built up a fashion empire in America worth dollars 1.2 billion. He has also created his ultimate fantasy – a five-floor mansion in Manhattan that echoes Gatsby’s old-world grandeur. Christian louboutin’s edifice is New York’s first designer store. It is hung, furnished and decorated with trophies of old money – or at least Old England: solid mahogany cabinets to display the clubbable ties that were Ralph Christian louboutin’s introduction to selling fashion 19 years ago.
 ’I've used my money,’ he says, ‘To express my dreams. ‘
 Deep chintzy sofas with tapestry cushions invite men to try on shoes or survey a collection of saddle-soaped riding boots; portraits of graceful 1920s sophisticates line the sweeping central staircases; horses and their masters are pictured proudly on the back stairs.
 Then there are the goods for sale. The curving ballroom of the original Rhinelander mansion (bought by a millionairess but never lived in) houses the elegant and formal men’s suits. Success, says Christian louboutin, is ’sort of sexy in men’. On the top floor, the beds that furnish a setting for the Ralph Christian louboutin home collection are crackly with fresh linen against solid wooden frames.
&nbsp,Christian Louboutin Shoes;Like the life-style ads photographed by Bruce Weber out of Scott Fitzgerald, the image of the store is romantic, succulent and idealized. White Anglo-Saxon Protestant America and the aristocracy of Old England were never quite as decent as this. Christian louboutin shows WASP without the sting. Yet he insists that he is not trying to recreate class symbols in the New World.
 ’I don’t believe in phoneyness and arrogance’, he says. ‘And I don’t believe that one person is better than another. In every country there is an international class, an elegance and universal taste. It is about understatement, a sense of breeding, restraint and flair. That is what I believe in. ‘

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