Christian Louboutin Quotes
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I wouldn't take it as a compliment if someone looked at one of my shoes and said, 'Oh, that looks like a comfortable shoe.' There is a heel that is too high to walk in, certainly. But who cares? You don't have to walk in high heels.
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If I'm in Italy, I'm going to have a cappuccino and two small brioches and then a mix of orange and grapefruit. I don't drink tea in Italy.
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Istanbul is inspiring because it has its own code of architecture, literature, poetry, music.
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I am always surprised by who wears my shoes. This is a good thing. There is no type of woman, but all my women like to feel feminine. They are women who are happy to be women.
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When you sketch a shoe but don't have the intention to do a proper shoe, it remains a curvy sketch with no detail. The shoe completely morphs to the body.
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If you do what you love, it is the best way to relax.
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Some people don't even know my name, but they know I am the man with the red soles.
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The core of my work is dedicated not to pleasing women, but to pleasing men.
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I perfectly understand the obsession with shoes. I myself am pretty obsessed. I have a few hundred pairs of shoes in general, because I've been collecting shoes for a long time.
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I sketch literally all the time; constructing a collection is like building a family - you have to have a certain balance. I isolate myself - I need to be concentrated for this so I leave Paris, I leave to a place without a phone.
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My drawing for women is really curvy. My drawings for men are actually quite angular.
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My business partner gave me a drone, a small helicopter you pilot with an iPhone, and also it has a camera so you can see what it sees on the iPhone. Great fun. I fly it outside in Portugal. It's wonderful to oversee gardens.
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The thing I always try to remember is that feet are attached to the leg, and that you must prolong the silhouette. The shoe elongates the leg and does it discreetly. The goal is to get people to look at a woman's legs. It's all about the leg. No, it's not about the leg. It's about the woman.
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I was born in Paris in the mid-1960s, and by the time I was 12 I had started going to the movies by myself. Most of the movies of that period never appealed to me. I didn't like the 'naturalism,' the sad or the 'down-to-earth' characters. What I wanted from film was fantasy, dreams, funny situations, extravagant decor - and beautiful women.
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I guess being French, I love Hollywood. I love Hollywood movies. Joseph Mankiewicz's 'All About Eve.' 'Mildred Pierce.'
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I hate the whole concept of comfort! It's like when people say: 'Well we're not really in love but we're in a comfortable relationship.' You're abandoning a lot of ideas when you're too into comfort.
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I am more feminist than feminists.
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A good pump is a silhouette, like the bone structure of the face. It's like a beautiful face with no make-up. You can cover a not-so-beautiful face with make-up, but it is just a mask - it is the same with shoes.
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When a woman puts on a heel, she has a different posture, a different attitude. She really stands up and has a consciousness of her body.
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A house is very much like a portrait. I cannot disconnect houses from people. The thought of arrangement, the curves and straight lines. It gives an indication of the character at the heart of it.
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The most outrageous shoe that I had to do was a shoe where the person gave me stones - precious stones - and say that I could do anything with precious stones.
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Everyone wears what they feel great in or comfortable with.
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In a creative business, if you're happy, it will come out in your work. I don't see how you can be happy if you don't like the people you're working with and if they aren't a joy to have fun with.
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I think every market has lot of things in common, and at the same time, every market has lot of different things.