When There Is Nothing Left to Copy

Luxury is not the same. Fashion has stopped inventing. And a quiet crisis of originality is spreading across every creative field. There is a question that has been quietly troubling the creative industries for the better part of two decades, and it goes something like this: when was the last time something genuinely new happened? The question that follows from this diagnosis is not aesthetic. It is structural. Something does not stop working for no reason. Systems do not stagnate in a vacuum. If culture has lost the capacity to innovate, the explanation lies not in a deficit of individual talent — there are as many brilliant designers, musicians, filmmakers, and artists alive today as there have ever been — but in the machinery that connects talent to audience.

Luxury is not the same. Fashion has stopped inventing. And a quiet crisis of originality is spreading across every creative field. There is a question that has been quietly troubling the creative industries for the better part of two decades, and it goes something like this: when was the last time something genuinely new happened? The question that follows from this diagnosis is not aesthetic. It is structural. Something does not stop working for no reason. Systems do not stagnate in a vacuum. If culture has lost the capacity to innovate, the explanation lies not in a deficit of individual talent — there are as many brilliant designers, musicians, filmmakers, and artists alive today as there have ever been — but in the machinery that connects talent to audience.

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