Besides his insanely impeccable aesthetics, his attention to detail and his unstoppable drive for creation showcased in his Chanel shows for more than three decades, Karl Lagerfeld has been involved in, designing for, or working with half of the fashion world (Balmain, Jean Patou, Chloe, Fendi, Diesel, Charles Jourdan, even H&M). Indisputably, he played a major role in shaping the modern fashion system as we know it. However, I do not intend to characterize him ‘prolific’, a word that every editor used today to mourn for his death. Indeed, he tastefully and cleverly re-interpreted and uplifted the vision of Gabrielle Chanel, the one of the independent, emancipated and modern woman, when he became creative director of the house in 1983. But for a person who what loves most about life is ‘a new start’, that is not enough. He fell into a loop of his admittedly extremely successful first collections, and worked his way up, but only in reference to the luxury and the wow factor that the show itself had to offer – besides who can forget the rocket ship, the tour Eiffel, the supermarché, the beach, the forest, the airport… In a capitalistic world to which the fashion business belongs, to a world where actors, singers and celebrities’ kids are sitting in the first row instead of the true connoisseurs of fashion, designers should push more towards unknown directions and question the norms that have been set over the years. And there lies the dilemma: should you change something that you admittedly excel at for the sake of innovation? How does a designer maintain the history and style of the fashion house through his designs, but at the same time has constantly something new to offer? But then again, isn’t this neo-obsession the core of capitalism?