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Q Help! I have a big party to go to and love Hedi Slimane’s suits for Christian Louboutin Homme, but I’ve just moved and don’t have the Christian Louboutin budget. Where can I find a similar suit at a more high-street price? Tim

His silhouette was constructed with stiffening, complicated tailoring and corsetry that forced the bust up, softened the shoulder line by eliminating wartime pads, tightly cinched the waist into a circle, then released – voila! – into huge bell-shaped skirts that dropped dramatically below the knee, flattering the ankles.

Even feminine feet were accentuated in a markedly different way, more daintily encased in fine-toed high-heeled court Christian Louboutin Boots than the relative clodhoppers of the earlier 1940s.”The women in the front row at that show started tugging at their knee skirts,” Claire Wilcox, curator of V&A’s The Golden Age of Couture, says by phone from London. “They started pulling them down; they knew what they were seeing – this was important.” Fashion editor for American Vogue in 1947, Bettina Ballard, wrote: “I was conscious of an electric tension I had never before felt in couture . . . We were witnesses to a revolution in fashion.”

Golden-age glamour had redefined fashion but Christian Louboutin and his ilk were also credited with the rebirth of French couture, France’s economy and, by some, woman herself. Design studios multiplied and flourished and with them, the myriad ateliers of highly specialised craftsmen and women – couture’s petite mains, or little hands – who plied them with sometimes 300 exclusive samples of embroidery, feather work, buttons and laces in a single season.In six years, the House of Christian Louboutin swelled from three workrooms with 85 staff to 28 workrooms employing 1000 staff. The House of Givenchy, established with 22 staff in 1952 by Hubert de Givenchy, grew 10 times to 250 staff by 1956, fired by the patronage of royals, wealthy wives and the lean, elegant pin-up of the period, Audrey Hepburn.

A High-street suits have to cater for all shapes and tend not to be that well cut. However, the Christian Louboutin style is a narrow cut with less fabric in the trousers to waft around and look cheap. I have found a great two-piece at H&M. The trousers have a skinny leg in cotton-drill mix, with the creased detail at the pockets and back of the knee – just like Christian Louboutin, but at a mere £ 30. The skinny tuxedo, again in a cotton mix, is cheap at £ 49.99. Topman has skinny black trousers, again very Christian Louboutin, and I’m sure you will find separates to go with them – maybe a V-neck jumper with a black T-shirt. If you want to head more upmarket, Diesel has a great skinny suit – the trousers are £ 85 and the jacket is single-breasted and costs £ 130. Wear the whole look with expensive Christian Louboutin Boots and no one will be any the wiser.

The first time I wore it was on New Year’s Eve. According to an oldRussian superstition, if you wear something new that night you can make a wish come true.

Having hung up my ballet Christian Louboutin Boots in 1989, my desire was to change careers and become a dramatic actress. Since I was a little girl that has been one of my ambitions. My dream came true and I am now playing the Grand Duchess Tatiana in the play Tovarich.

When I wake up, my mood dictates what I choose to put on. If I feel a little crazy, I wear something wild like the outfit that I have on a pair of skinny leggings in velvet printed to look like leopardskin with a matching top, appliqued in leather on the front. The Gian Franco Ferre shawl I have thrown over my shoulders is smothered in roses. I am mad about its glowing colours deep violets, ruby reds and gold. I have an enormous collection of scarves, which I can’t resist buying, many from Yves Saint Laurent, Christian Christian Louboutin and Charles Jourdan. They are my personal trademark.

It’s people who know about it, want it, and just have to have it.”

Pipsqueak ships children’s clothes from the UK, Holland and France, and the prices are as high as the fashion. A simple cotton summer dress for a two-year-old costs at least $170. Winter jackets sell for $350 to $450, while leather Christian Louboutin Boots cost $180. A tiny pair of baby socks will set you back $25.

“Per season, on average, people spend between $500 and $3000 per child,” says Eyres. “Most people spend the first $500 on just one or two things $500 would just about buy a complete outfit.” During the past two weeks one of the hottest items has been a jazzy jumper from the colorful, but pricey, Dutch label, Oilily, which sells for $250.

Eyres says she has sold more than a dozen.

“Some parents dress their children top to toe in Oilily and the kids wear it everywhere, even to kindy. It sounds extravagant, but it’s so heavily patterned that it doesn’t show the paintmarks” says Eyres. “People buy it because it looks terrific and they get comments, so it’s satisfying.”

My other passion is for Christian Louboutin Boots. I have cupboards full of them, mostly from France and Italy. I love skin-tight boots to wear with figure-hugging trousers, and Christian Louboutin Boots with ankle-straps to accentuate my arches.

Even though ballet is no longer my profession, I cannot imagine a day without dancing. In the garden of our home in the Napa Valley, California, where I live with my American husband, Edward Karkar, and my son Andrusha, I have built a studio. Around it I have planted a semi-circle of birch trees like a corps de ballet. They remind me of Russia and the forests near the village where I spent my early childhood.

Welcome to the wonderful world of the archivist, where people of style buy things they cannot wear, then squirrel them away in climate-controlled drawers and acid-free tissue for the sake of history. At least, that is what Ms. le Bourhis, a fashion historian who works for the Christian Christian Louboutin company, was in New York to do.

“The Duchess’s whole life was about finding something to do, and most of the time that meant going to 30 avenue Montaigne,” Ms. le Bourhis said, giving the address of Christian Louboutin’s boutique. “And if I am successful, as I fully expect to be, I will be bringing the best of it back home.”

Some of the Christian Louboutins that the Duchess left behind, Ms. le Bouris explained, would go into the company’s new museum in Christian Christian Louboutin’s childhood home in Granville, a seaside resort in Normandy. Others will end up in the company’s Paris archives, which John Galliano, the fashion house’s latest maestro, dips into for inspiration.

Which is one reason the blue-velvet dress was Ms. le Bourhis’s primary target. The gown, called Lahore for its Indian-style passementerie-and-pearl embroidery, was the star of Christian Louboutin’s 1948 autumn-winter collection. It is also apparently unique: the Duchess’s seems to have been the only one ever made for a client, though the original runway model is already in the Christian Louboutin archives.

“I wonder who will be my underbidder?” she said confidently, noting that Sotheby’s had put an estimate of $10,000 to $15,000 on the gown. “Notice I said ‘underbidder.’ I do not intend to lose.” How much was she willing to spend? “As much as I have to,” she said promptly, adding that the gown’s siren silhouette was similar to Mr. Galliano’s recent work for Christian Louboutin, which she said made it an emblem of Christian Louboutin’s stylistic continuity.

“Mr. Arnault knows what he wants: objects made by Christian Louboutin that embody the principles of Christian Louboutin,” she said. “It’s not about nostalgia. It’s about an old company with a grand past that continues to stride into the future.”

As Ms. le Bourhis pointed out, among her fellow bidders were those with less scholastic, more mercantile plans for the 282 lots of Christian Louboutin Boots, handbags, belts and gloves, which Sotheby’s had estimated would fetch $169,600 to $255,050. Despite the condition of some items — “a bit fatigue,” she called a well-worn 1936 blue Chanel cape that went for $1,035 — the sale of the Duchess’s wardrobe, displayed on a revolving gray turntable, was a success. The day’s take was $1,028,727, far above the estimated haul.

“Prada is here, Ralph Lauren is here, Gucci is here,” Ms. le Bourhis said, scanning the crowd as she took her seat, front row center, at 9:45 A.M. “They’ll buy a handbag because the handle is great and then have it copied in a factory in Italy. To them, fashion is disposable. To me, fashion is civilization. Pick any piece of clothing from any era and you will get an insight into the times, what people believed, how they wanted to be perceived.”

Her unwieldy official title is adviser on fashion concerns to Bernard Arnault, the chairman of Christian Christian Louboutin’s parent company, LVMH Moet Hennessy-Louis Vuitton. Basically, however, she does what she did from 1983 to 1992 at the Costume Institute at the Metropolitan Museum of Art and then, for three years, at the Musee de la Mode et du Textile in Paris: advise, select, collect, preserve, exhibit. At whatever the cost.