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Christian Louboutin’s Fall 2011 lookbook merges high art and high fashion

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Die-hard fashionistas would always argue that amazing clothes are works of art in their own right. After all, only these two can command such hefty price tags for no reason other than that they strike an emotional cord that compels patrons to buy, buy, buy.

And now master shoemaker Christian Louboutin is set on merging fashion and art into one inseparable category that would legitimize the style set’s excuse for buying AED 10,000 pairs of five-inch heels. Wearable art? That won’t sound so contrived to an outsider anymore.

For his Fall/Winter 2011 look book, Mr. Loubi has collaborated with photographer Peter Lippman to integrate the brand’s heels and clutches into existing works of art, resulting in a fashion-inspired showcase of paintings that portray iconic subjects longing for Louboutin’s red-soled creations.

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Photos courtesy of Peter Lippman


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  3. Anonymous

    July 26, 2011 at 5:06 am

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  4. Neelika Jayawardane

    August 9, 2011 at 8:11 pm

    Louboutin’s Emancipated Breast: AFRICA IS A COUNTRY

    I should be happy that it’s not only white women who are represented in Louboutin’s spread. But the take on Marie-Guilleme Benoit’s “Portrait d’une Negresse” – where (you guessed it) a seated young, black woman poses for the painter, an exposed breast slipping out of Grecian folds of cloth – is a problematic choice. People like to argue that because this portrait was painted six years after slavery was abolished, and because the painter is a woman, it is an iconic image of emancipation: for black people as well as for women. We’re supposed to see “The Negresse” as an embodiment of steely determination and femininity (one would have to steel oneself, if one was asked to pose in a compromised manner by a white painter, a handful of years after the legal end of slavery). And the fact that the painting was acquired by Louis XVIII ’for France’ in 1818 may tell you something interesting, too.

    I don’t know about you, but I wouldn’t need to expose a boob in order to celebrate my emancipation form forced labour. Looks more like Benoit’s exploring and exploiting a well-known trope: desire and revulsion projected onto the Dark Other.

    Black Hamlets and White Othellos are now passé, so Alex Wek could have posed in any of these other ‘looks’. Of all the possible paintings that the artistic director of Louboutin’s Fall Lookbook could have picked, one in which a black model could pose, why pick the one with the liberated breast?

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