Karl Lagerfeld, the great German fashion designer, lived in a surreal kind of grandeur. The creative director of both Chanel and Fendi, he owned apartments in Paris, Rome, and the Côte d’Azur, as well as villas in Biarritz and his native Hamburg; enormous collections of Art Deco furniture, antique jewelry, and couture garments; a personal library of some 300,000 books, by his own estimation; paintings and sculptures by Jeff Koons, Takashi Murakami, and John Baldessari; three Rolls-Royces; a curious assemblage of 509 iPods; and hundreds of pairs of his trademark wraparound sunglasses and fingerless biker gloves. According to a conversation that his biographer, William Middleton, had with the Parisian florist Lachaume, his annual flower budget appears to have been about 1.5 million euros. Lagerfeld never married or had children, and when he died of cancer, in 2019, the press quickly began to speculate about the immense fortune he’d supposedly left behind, which a number of outlets, including Bloomberg, Forbes, and The Guardian, ballparked at more than $200 million. Speculation also swirled about where these riches would end up.
More than seven years later, here is what is known for certain about the details of Lagerfeld’s will and estate: nothing. (Under French law, such matters are not made public.) But plenty has been rumored. Various figures close to Lagerfeld have been suggested as beneficiaries, including several male models and fashion executives, his bodyguard, his housekeeper, and the princess of Monaco. Even so, from the start, one improbable name has stood out: Choupette, Lagerfeld’s blue-cream Birman cat.
In the years before he died, Lagerfeld often spoke in extraordinary ways about the role Choupette played in his life. Listen to just a fraction of his avowals: “I never thought that I could fall in love with an animal like this.” “She is the center of the world. If you saw her, you would understand. She is kind of Greta Garbo.” “She has lunch and dinner with me, on the table, with her own dishes. She never touches my food. She would never eat on the floor.” “I have only one great love, my cat, Choupette.” And, ruefully, “There is no marriage, yet, for human beings and animals.”
Choupette came into Lagerfeld’s life over the 2011 Christmas holiday. A young model with whom Lagerfeld had a close friendship, Baptiste Giabiconi, asked whether he might leave his four-month-old kitten at Lagerfeld’s home while he visited family in Marseille. Somewhat reluctantly, Lagerfeld, who had previously had little time or affection for cats, agreed and found himself besotted. When the kitten was reclaimed by Giabiconi, Lagerfeld moped, and beseeched that Choupette be returned to him for good, a wish soon granted.
The first public window into this change in Lagerfeld’s life came not long afterward, when a friend of his posted a picture of Choupette sitting wistfully in Lagerfeld’s apartment, next to what appears to be a full bathtub, an arrangement of several dozen roses arching over her. By that summer, Lagerfeld was explaining in interviews that Choupette was “like a kept woman”; that she had “two personal maids, for both night and day—she is beyond spoiled”; and that these maids, aside from their other duties, were charged with writing down every detail of Choupette’s behavior when he wasn’t around so that he might know what he had missed: “Everything she did, from what she ate, to how she behaved, if she was tired, and if she wasn’t sleeping.” Already, Lagerfeld declared, there were 600 pages of such documentation.
Choupette’s fame swiftly grew, and Lagerfeld routinely extolled the extravagance of his cat’s day-to-day life: how she ate chef-prepared meals off the best china, traveled by private jet, appeared with models on magazine covers, and starred in advertising campaigns. Lagerfeld proclaimed her the most famous cat in the world, and declared that her advertising work had made her independently wealthy. “She has her own fortune from things she did,” he stated. “She’s a rich girl!”
According to Lagerfeld, in 2014 alone, Choupette earned more than $3 million from campaigns for Opel Corsa cars and Shu Uemura’s Shupette makeup line. That same year came a book, Choupette: The Private Life of a High-Flying Fashion Cat, including photos, biographical tidbits, and details of Choupette’s beauty regimen. A second book, Choupette by Karl Lagerfeld, 53 photos of Choupette taken by the designer on his iPhone, followed in 2018.
Once he adopted her, few Lagerfeld interviews failed to include testimony to Choupette’s outsize role in his life, albeit clearly one that reflected his own particular tastes and needs. “She’s peaceful, funny, fun, graceful, she’s pretty to look at, and she has a great gait,” he’d explain, “but her main quality is that she doesn’t speak. It was love at first sight.”
[Read: There was no one like Karl Lagerfeld]
In his later years, Lagerfeld had intense attachments to select younger men he adopted as muses, but he is not believed to have had conventional romantic relationships. (As a younger man, he had a partner of nearly 20 years, Jacques de Bascher, who died from AIDS in 1989.) Lagerfeld often spoke as though his was a life that sidestepped sex entirely, though he once told Vice magazine: “I personally only like high-class escorts. I don’t like sleeping with people I really love.” Either way, if the manner in which he chose to live could be considered to have left a void, Choupette seems to have filled it. In a period when the designer was no longer close-shaven, he observed, “With this facial hair, I am really starting to look like Choupette. We are like an old couple. She even grooms the beard—we sleep on the same pillow and she spends her time licking it.”
Then reality intervened. Lagerfeld had learned he had cancer several years before his death in a Paris hospital on February 19, 2019, but this was information he had shared with almost no one. To ensure that Choupette was properly taken care of after he was gone, he designated his housemaid Françoise Caçote, who had long been the cat’s primary lady-in-waiting (and diarist), as her ongoing caretaker. During Lagerfeld’s last days, she surreptitiously brought Choupette to his hospital room. Once, not long before Lagerfeld’s death, Choupette caused great panic by disappearing, feared lost in the wider hospital, until her tail was spotted sticking out from her hiding place in Lagerfeld’s en suite bathroom.
As the post-death arrangements were made (Lagerfeld would be cremated with a piece of aquamarine jewelry bearing Choupette’s likeness), the media speculation about Lagerfeld’s estate began. The narrative that this involved Choupette had been primed by Lagerfeld himself, who had referred to how, should he die first, Choupette would be lavishly provided for. Although some reports that week allowed that any bequest to Choupette was, as yet, unconfirmed, a fair few were more absolute—led, as many such narratives are, by the British press, even its supposedly more respectable sectors. Their cumulative message was clear: “A cat belonging to the fashion designer Karl Lagerfeld, who died on Tuesday, is reportedly in line to receive up to $300m (£230m) of his estate” (The Telegraph); “Karl Lagerfeld’s cat, Choupette, may be set to inherit some of his £150 million fortune” (the Daily Express); “Karl Lagerfeld’s cat Choupette is reportedly set to inherit some of the formidable fashion designer’s £150m fortune” (the Independent).
The swirl of scuttlebutt about other beneficiaries, totals, tax liabilities, and relative shares has continued ever since, and there are consistent reports that, even now, no one has received any money. Nonetheless, it has been printed as established fact that, separate from his will, Lagerfeld had arranged a sizable sum, generally said to be about $1.5 million (though sometimes as much as $4 million), to ensure that Choupette would live on in the style to which she had become accustomed. She was, it was sometimes claimed, the richest cat in the world.
A little over seven years after Lagerfeld’s death, I’m sitting in an office building that towers above the Parisian suburb of Courbevoie with a man named Lucas Bérullier. Bérullier is Choupette’s agent.
Bérullier never met Lagerfeld, but he is fluent in the lore. “There’s a story,” he recalls, “when he adopted Choupette, at early stages and she was still young, everything was white in his apartment, and she was like a white fur ball. And he was so scared of someone or himself sitting on her or hurting her that he had every piece of furniture changed into black.”
Bérullier runs a company called My Pet Agency, one he started nearly a decade ago after seeing an unfilled opportunity for representing pets with potent social-media engagement. My Pet Agency’s menagerie is dominated by dogs, which Bérullier says are generally more obliging than cats. One of the dogs he has represented is Messi, the French border collie prominently featured in the film Anatomy of a Fall, though Bérullier points out that the company handled only Messi’s “social-media and special campaigns,” not his acting work. (Yes, this is a world where an animal might have more than one agent.) Most of the rest are cats, though along the way there has also been Buckley the cow, Cheepy the Australian cockatoo, Jiro the otter, Spike the beetle, and Mr. Pokee the smiling hedgehog.
[From the November 2022 issue: The improbable rise and savage fall of Siegfried & Roy]
As the business grew, Bérullier was aware that there was one megafamous pet living nearby in Paris that he would love to bring into his stable. While Lagerfeld was alive, Bérullier never found a way to make contact, but the summer after his death, an initial connection was finally made. Bérullier’s wife, a makeup artist, was doing a job in Lagerfeld’s studio, and she got to talking with Lagerfeld’s former bodyguard and confidant Sébastien Jondeau about Choupette. Bérullier soon went to visit Françoise Caçote and Choupette, and everything was agreed. “She needed someone to help harmonizing and structuring the communication,” he says. “Someone on her side defending what was best for her and what was best for Choupette.”
These days, Choupette lives in an apartment with Caçote somewhere in Paris, but I’m told that neither cat nor caregiver is receiving visitors right now. Bérullier says that a large part of his job, when it comes to matters relating to this particular client, involves turning people down.
He says that commercial opportunities are screened according to a number of criteria: Beyond financial considerations, there are questions as to whether such offers are suitable for Choupette and for Lagerfeld’s legacy. There are moral considerations, too. “We believe that Choupette only works with animal-cruelty-free brands,” he explains. “A brand that uses fur, we would have to decline a collaboration.”
Other practicalities must also be accommodated. Cats, in general, can be tricky, and Choupette sounds a little tricky even for a cat. Bérullier has to prepare clients for the possibility that Choupette won’t even turn up. “And people understand, because you call them, you’re like, ‘Sorry—for the cat welfare and well-being.’ And they all say, ‘Oh, it’s fine. Okay. You told me. I get it.’ Then we have to either reschedule or just not do the job.”
Jobs that are not rescheduled, and that require Choupette to leave her home, are generally done at a studio that Choupette is accustomed to, just a few minutes away. Clients are told that there is a two-hour maximum, that everything must be ready before Choupette’s arrival, and that she requires her own private room. There must be no noise on set, and no one may take photographs aside from the photographer. Also, Choupette must not be shot from above. Shooting from human height, Bérullier explains, is the classic amateur pet-owner blunder. “That’s not engaging. But if you start laying and going like this—” Bérullier mimes getting on the floor in front of an animal. “And even sometimes going under them, it makes the impression that they’re giants! And that will engage.”
Bérullier shares one more practical accommodation made for the most important shoots: Whenever prudent, there will be a cat double on set, ready to do whatever Choupette might not. They don’t use just one regular stand-in—it depends on what might be required that day: “We know the one that is very human-friendly, the other one that is playful, the one that has the eyes that look the same or the tail that looks the same.” It’s clear that he does not consider this duplicity, more the reality of dealing with animal actors—and one, he points out, that is routine in moviemaking. He notes that the Choupette camp doesn’t go out of its way to disguise footage from a double, and that eagle-eyed Choupette fans can often tell.
Bérullier also demystifies some other assumptions that lie at the very core of how Choupette is commonly perceived. The multimillion-dollar fees that Lagerfeld alluded to Choupette commanding were for campaigns where the clients were largely paying for Lagerfeld’s name, and also for Lagerfeld being the photographer, designer, and art director. Bérullier doesn’t share Choupette’s current rate card but suggests that the numbers involved are substantially more modest. “Let’s be honest, we can’t ask millions for a post or a shoot,” he says.
Likewise, he punctures the notion—one that Lagerfeld sometimes explicitly stated—that Choupette has her own seven-figure bank account. “The law is the law,” he says. “A cat can’t own a bank account.” (When I ask whether there couldn’t be some kind of corporation holding the money, he says that if this were so, it would be a matter of public record.) Furthermore, he suggests that we should be skeptical of stories that Caçote has already received a million-plus sum on Choupette’s behalf. The one printed story of this kind that Bérullier verifies is that Lagerfeld did, before his death, give Caçote the apartment in which she and Choupette live, but he notes that even this came with substantial unaddressed French tax liabilities.
There is no suggestion at all, in what he is saying, that Choupette wants for anything. Revenue is clearly coming in, though maybe not as much as one might assume. “It’s really hard for me because on one hand, you do want to keep the myth up,” Bérullier says. “But it’s not what I want people to be interested in. I mean, for me, she’s the most beautiful cat in the world; she’s the most fascinating—and culture and iconic and heritage. But not in a money way.”
As for the will itself, here are some more details of what has been rumored. The will was apparently written in April 2016, and there are commonly said to be a number of beneficiaries. Many accounts suggest the former bodyguard Sébastien Jondeau and two of Lagerfeld’s male-model muses, Baptiste Giabiconi and Brad Kroenig. It is generally agreed that the Lagerfeld executive Caroline Lebar is also named. Sometimes, but not always, mentioned are the former Chanel creative director Virginie Viard; the writer and style consultant Amanda Harlech; a second Lagerfeld executive, Sophie de Langlade; Kroenig’s son Hudson (Lagerfeld’s godson, who started modeling for Lagerfeld on the runway at age 2); another model friend and protégé, Jake Davies; Princess Caroline of Monaco; and Caçote. (Animals may not inherit directly under French law.)
[From the January 1984 issue: Quoting Chanel]
It is said that a key reason for the delay in settling Lagerfeld’s estate is a long-standing legal fight with the French tax authorities. One area of dispute may stem from the repercussions of the belated discovery that Lagerfeld’s home in Monaco, where the tax regime is famously gentler, was technically in France. But there may well be more than that. There is talk of a complicated web of international corporations potentially structured to reduce tax liability, and it was reported several years before Lagerfeld’s death that he was under investigation for tax evasion. An added layer of intrigue was the apparent disappearance of Lucien Frydlender, Lagerfeld’s accountant of 30 years and the estate’s putative executor, who reportedly died in Israel in 2024.
The closest anyone has come to capturing what those supposedly involved say about any of this is Michael Waldman, who made a remarkable documentary, The Mysterious Mr Lagerfeld, for British TV in 2023, in which he interviews a range of Lagerfeld associates, including all three men—Giabiconi, Kroenig, and Jondeau—who are most often identified as the principal beneficiaries. Jondeau describes Lagerfeld handwriting the will and confirms that he was one of the beneficiaries, and appears to confirm that Kroenig and Giabiconi are included too. And Giabiconi says this: “He named me top of the list. Well, I got a big percentage.”
But a percentage of what, exactly? Although the Lagerfeld estate’s value was widely assumed to be in the low hundreds of millions, there seems to be no solid basis for this number. And although Lagerfeld was evidently very rich, he was also famously generous and profligate: In the documentary, the manager of Lagerfeld’s favorite bookshop says that he was the store’s best client, spending 500,000 to 700,000 euros each year. Various sales have liquefied assets in the years since—a Paris apartment was sold for $10.8 million, a villa outside the city for about $5 million—but nothing yet approaching the totals that have been widely touted.
In Waldman’s film, one interviewee, Lagerfeld’s estranged friend Patrick Hourcade, raises another rumor, the most dramatic of all—that the remaining money will go to the French finance ministry. Waldman tells me he got the sense from other interviews that expectations had certainly been lowered—that, for instance, Jondeau “thinks and hopes that something will come, but he doesn’t know how much, and he knows that it’s possible that there’ll be very little or nothing.”
Waldman also spent time with Choupette at Caçote’s home, which he reports is a nice-enough apartment, where she lives with her husband and teenage son. “The husband was quite funny,” Waldman says. “He was like a salt-of-the-earth plumber—he might even have been a plumber, I can’t even now remember. But he was a working man. And he was obviously bemused by this mad world that his wife had got herself into and more than tolerant of this extraordinarily beautiful cat.”
Filming Choupette, Waldman says, required patience. “She didn’t like strangers,” he says. “That was understood.” But, he adds, “there was also something in the way that Choupette moved that said, I am more important than you. I am more important than anybody or anything. And I sort of saw that. And in terms of trying to seduce Choupette into my lens and, as it were, communicate in an unprecedentedly intimate way, she refused.”
The latest rumored turn in the seemingly never-ending drama of the Lagerfeld estate came earlier this year. It had been reported in 2024 that the beneficiaries had agreed on terms to settle with the tax authorities. According to the German magazine Bunte, in December 2025 the will had at last been finalized, but then had apparently been challenged by an unknown party. This had come to light, Bunte asserted, because Lagerfeld’s surviving blood relatives had received a letter informing them of this development. These relatives, who are not believed to be in the will, had apparently been notified because, should it be ruled that Lagerfeld had no valid will, his estate would then be divided among them.
Lagerfeld was born in Hamburg in 1933. (For many years, he would claim to have been born in 1938, something he would later attribute to his discomfort at having been born in the year of the Nazis’ rise to power.) Lagerfeld’s father—who, incidentally, was a member of the Nazi party—had been married before, and Lagerfeld had an older half-sister, Thea. It is from that line of the family that his surviving German niece, Thoma Theodora Friederike, the countess von der Schulenburg, comes. She is quoted in the Bunte article as saying that she would “emphatically reject” any inheritance.
But Lagerfeld also had a full sister, Martha Christiane, who was two years older than him. When she was in her mid-20s, she took a job in Seattle as an au pair. There she met a tax inspector named Robert Johnson; they married and moved back to his hometown of Portland, Connecticut, where they raised three boys and one girl.
I reach Caroline Wilcox in the records department of a municipal agency in rural Connecticut, where she has worked for more than 40 years. She is Karl Lagerfeld’s niece.
She first met Lagerfeld when she was a baby, when her mother took a ship back to Germany for a visit in 1961, about a year after her birth. Later, Caroline and her younger brother Karl—named after his uncle—would wear the clothes that Lagerfeld and Lagerfeld’s mother sent them; her brother Karl was the only kid in the neighborhood in lederhosen. (Two more boys, Roger and Paul, would follow later.) Still, she notes, her mother’s world and her uncle’s were far apart. “I was raised a little feral with three brothers,” she says. “I had a pet goose.”
In the fall of 1974, Lagerfeld, who was in New York, drove up to see his sister for the first time in years, and invited Caroline and her brother Karl to visit him in Paris the following summer. “We had a wonderful time,” she says. “He took me to a salon for a full day. I came out not even looking like myself. Took us shopping for clothes, reoutfitted us. I had never been to a restaurant.”
Lagerfeld met up with his sister one final time, in the 1980s, and after that, none of Lagerfeld’s American family ever saw him again, but they never fell out of touch. “We weren’t close,” Wilcox says, “but we had contact.” Lagerfeld would send presents, and sometimes money, to his sister, and also a Fendi fur for her 50th birthday, and he and his sister would talk by phone. In 1992, when he found out that Wilcox was getting married, he told her to forget about the dress she had already picked out. He, Karl Lagerfeld, would be making his niece’s dress. Faxes went back and forth, Lagerfeld sending his hand-drawn sketches and handwritten thoughts. The day before the wedding, a courier arrived in the snow carrying Lagerfeld’s creation, flown in that same day with its own seat on the Concorde.
In 2015, Wilcox’s mother died after a short illness. Lagerfeld had been getting updates, and once she was gone, Wilcox let her uncle know. “I texted with him throughout the day,” she says. “He was upset and talked about how different their lives were. I recall he was on an elevator to take a moment of privacy because he was at a show or working. That day was very busy for him, but he did take the time out to make me feel better.”
Wilcox says that her close friends know of this family connection, but few people beyond that. “If you said ‘Lagerfeld’ to most people here,” she points out, “they would not know who that was.” Her brother Roger lives nearby, and drives heavy vehicles. Her other brother Paul moved to Texas, where he is a government contractor. (Her oldest brother, Karl, died in a motorcycle accident when he was 18.) “We’re just ordinary people,” she says. “He has American relatives that live quite, quite differently than what his world was like. We’re very proud, but also unassuming.”
She declines to say whether she has recently received a letter regarding the will, but emphasizes that she certainly has laid no claim to it. “He was a generous, kind person to us,” she says. “My uncle was so unique. A once-in-a-century person.”
She mentions that in his later years, Lagerfeld would text her pictures of Choupette. “He loved that cat,” she says. Sometimes she would send back photos of her dog, a Chihuahua-corgi mix: distant relatives finding common ground.
“A picture of my dog, Poppy, on my couch,” she says, “is a lot different than a picture of Choupette on a pillow.”
One more strange wrinkle in the Choupette story relates to her online history. The Instagram page @choupetteofficiel was launched on August 15, 2019, Choupette’s eighth birthday, nearly six months after Lagerfeld’s death.
But, as I’ve previously alluded, by then Choupette’s virtual celebrity was already long established. Lagerfeld often referred approvingly to her online popularity; the 2014 Choupette book boasted of “her own Twitter account and a vast following” and reprinted the first tweet, on June 6, 2012, from the account @ChoupettesDiary, posted less than six months after Lagerfeld had taken Choupette as his own: “Baptiste may think he is a muse but only I, Choupette, am Lagerfeld’s true muse. Everything from my whiskers 2 my meows inspire.”
Given the way that these social-media accounts were regularly referenced in the conversation surrounding Lagerfeld, it was natural to assume that they were part of Lagerfeld’s wider conception of Choupette. But the odd truth is this: They had nothing to do with Lagerfeld, or with anyone around him. On that day in June 2012 when the very first tweet appeared, Ashley Tschudin, a 23-year-old who held a low-level job at a New York company that managed booking software for modeling agencies but who had no inside track to the world of fashion or of Lagerfeld, had just read an interview with the designer published that morning in Women’s Wear Daily, in which he rhapsodized about Choupette and her obsessively documented two-maid luxury life. A character popped into Tschudin’s head—“a sassy, satirical, high-fashioned feline,” she tells me, “who had a lot of opinions about humans, about her lifestyle, the fashion industry, pop culture, and the beauty industry”—and, right there and then, she opened a Twitter account with the name @ChoupettesDiary, composed a bio (“I’m a famous beauty who refuses to eat on the floor & my maids pamper my every need. I am Choupette Lagerfeld and I am a spoiled pussy”), and started tweeting.
By the end of the same day, @ChoupettesDiary had gathered so much attention that Tschudin had done two anonymous interviews as Choupette by direct message—one with WWD, whose Lagerfeld interview had inspired all of this just hours before, and a second with Fashionista (“I felt it was time to show the fashion world the REAL Choupette,” the cat pronounced).
After that, Tschudin says that Lagerfeld’s team soon reached out to ask who she was. She told them her name and that was that. “It was never that they would step in and say, ‘Oh, no, you can’t say this,’ ” she says. “There was no control or approvals or communication as to overseeing the brand that I was building, except for that first introduction.” In the Twitter feed, and on the Instagram account and the more discursive blog that shortly appeared in tandem, she would freely use whatever photos were out there, including anything available from Lagerfeld and those around him. “Never once did I receive an email that said, ‘Hey, you can’t use these anymore.’ Why would they do that? I was building a brand for them for free.”
[Read: The wealth of Grumpy Cat]
Meanwhile, Tschudin was able to monetize the social-media accounts for herself, though she says only to modest effect: “Not in a consistent-paycheck way,” she notes. “Not enough to pay for my groceries.” She most benefited, she acknowledges, in more indirect ways: “Choupette became my voice and opened a lot of doors in my career for me within digital marketing, within the fashion industry, the beauty industry.”
Though Tschudin always had full-time jobs unrelated to impersonating a cat, she would typically spend hours each day on Choupette-related posting. “I loved it,” she says. “It was my creative outlet. It was my voice. I could say things that I, a human, couldn’t say, because it was humorous coming from a high-fashion feline.” When Lagerfeld died, at first she simply carried on. “Thank you everyone for your words of condolence,” Choupette swiftly announced. “With a once cold but now simply broken heart, I am going into mourning.”
She knew that there was going to be a problem when she saw Caçote’s first @choupetteofficiel post that August. Bérullier had touched on this situation when I met with him, mentioning that when he first came on board, “there was a bit of a dispute—we can call it that—with the person who had fans’ accounts. We had a conversation with the people behind, but we didn’t find an agreement that was okay.” Tschudin’s version is rather more blunt. She says that her lawyer made contact offering “a variety of options”: Choupette’s representatives could buy the brand and its audience; they could collaborate with her; they could hire her. “They were not interested in any of those,” she says. “They did not come in a collaborative way to the table.” It became clear that they preferred a fourth option. Tschudin was never formally shut down, but she could no longer easily use photos, and all of the fashion-world invitations she’d become accustomed to simply evaporated. She took the hint. “It was heartbreaking,” she says. “It was as if my voice was taken away.”
Not all of her memories of her time as Choupette are sour ones: “The brand as a whole is something I’m extremely proud of. I’m proud of a voice that I gave to an animal that did not have a voice. I’m proud to have gotten the opportunity to be one of the world’s first pet influencers when that was not a career path.”
During all of those years when she was assuming Choupette’s voice, Tschudin and her subject never met. Truth is, she’s not an evangelical cat person. Back then, she did have a pet, but it was a Chihuahua called Roscoe. Now, living in California, where she works for a company that does hiring for Google, she has seven rescue dogs and a rescue pig.
In 2023, it was decided that the theme of the year’s Met Gala, to be held on May 1, would be a tribute to Karl Lagerfeld. The first that Choupette’s people knew of this was when a request came to participate in an Annie Leibovitz Vogue photo shoot that would feature a dozen supermodels. Choupette’s part in this went well enough. Bérullier says that when the cat and her team turned up on the day, all of the models gathered at Paris’s Grand Palais were cooing, “Choupette! Choupette!” The cat’s designated model was Naomi Campbell, and Leibovitz duly photographed the two of them together on Pont Alexandre III, Choupette in Campbell’s arms.
That, though, was just the prequel. As news of the Met Gala theme became public, My Pet Agency was bombarded with endless versions of the same question: Would Choupette be attending the Met Gala? There are two stories to tell here. One is the story that was told at the time. The second is the one that appears to be closer to the truth.
This is the first narrative: Choupette’s people were besieged with requests for her to attend the Met Gala, but were stretching out a will she or won’t she? dynamic. A little over a week before the event, Choupette was photographed on Instagram lazing on a bed, paws over her face: “Me while everyone is wondering whether I’m going to the Met Gala.” A few days later, Kim Kardashian posted a photo of herself, lips pouting, next to Choupette on a bed: “Had a date with @choupetteofficiel in Paris. We then spent some time at @karllagerfeld’s office to get a little inspiration for the Met.” The implication seemed to be that because Choupette wouldn’t be mingling with the famous and beautiful in New York, one of their representatives had paid a visit beforehand.
The day of the Met Gala, when the cat’s nonattendance was revealed in a @choupetteofficiel post, it was presented as how things were always going to be: “Many people invited me to walk the red carpet of the #METGALA2023 in tribute to Daddy, but we preferred to stay peacefully & cozy at home.” Attention instead pivoted to the way Choupette was represented in New York on the night—Jared Leto walking down the red carpet in a full-body Choupette costume. This, presumably, had been the plan all along.
Except that a second narrative, significantly different, became apparent later that year, during an episode of The Kardashians. It turned out that Kim Kardashian’s meeting with Choupette had actually happened in the middle of March, about six weeks before her Instagram post. Ahead of the meeting, Kardashian explained to her show’s cameras exactly why she was there. “I am going to the Met with Karl Lagerfeld’s cat as my date,” she said, “and I’m so excited.” Later she further spelled out the mindset she was bringing to that day’s meeting: “Choupette is really key to my whole vibe for the Met this year.”
When I ask Bérullier, he concedes that this was provisionally the case. “We received about half a dozen requests of people who wanted to take her,” he says. “And first you’re like, Oh, yeah, cool. Of course. We’ll be there.” Then they started thinking about the reality of traveling there, and of taking Choupette down “the busiest, loudest, craziest carpet,” and wondering whether it was a good idea after all. Still, once Kardashian emerged as a likely escort, plans began to form. “It made the most sense: the most famous cat with the most famous person on the planet.”
That was why it had been arranged that Choupette and Kardashian would meet in a suite at the Paris Ritz. “I’m nervous,” Kardashian said beforehand. “I literally feel like I’m going on a blind date.” I’m pretty sure, watching this, that Kardashian is just mugging for the camera, creating a frothy reality-show narrative. But genuine trepidation might have been wise.
The cat and the Kardashian met for the first time when Caçote placed Choupette next to Kardashian on a plush hotel sofa. (Bérullier was there, too, taking a video on his phone.) Choupette initially appeared somewhat tolerant of Kardashian’s close presence, but not for long. Kardashian was wearing a black jacket—“some sort of plastic leather,” says Bérullier, who believes that Choupette was scared of the sound that this outfit made. Soon Choupette hissed, then jerked toward Kardashian, snarling. Kardashian swiftly withdrew her hand.
“Don’t worry, she pretends—she won’t do anything,” Bérullier reassured her.
“Oh, it’s okay—I act like that sometimes too,” Kardashian replied. “She is feisty.”
But then there was more hissing. Bérullier says that the two of them were together on the sofa for nearly an hour. At one point, when Kardashian tried to hold Choupette, Choupette lashed toward her face, and Caçote quickly stepped in to take the cat.
Later on, Kardashian and Choupette did successfully pose for photos together on a bed. By then, Kardashian had removed her jacket, and Bérullier says that this part of the encounter went much better. But the conclusion had become obvious. As she would summarize it on The Kardashians: “I think I realized really quickly that Choupette, we’re not a match. So I am not bringing her to the Met.”
“It would have been just not right for the cat,” Bérullier says. “You know, sometimes you need a bit of distance to understand that.”
Most of Choupette’s public life in the years since Lagerfeld’s death has been rather more low-key. Her most regular client is a high-end German cat-accessories-and-toys brand called LucyBalu. Just before Christmas, she did a shoot for a Maisons du Monde home-decor range. Last year, she was announced as the French voice of the mischievous cat Azraël in the French version of the Smurfs movie (Les Schtroumpfs ), though that was more clever marketing than anything else. She filmed some promotional footage but, cat being a universal language, no French-cat noises were overdubbed in place of the original sounds.
One more unusual recent collaboration was with a German painter, Max Renneisen, who has a particular interest in the great French 18th-century animal portraitists Jean-Baptiste Oudry and Alexandre-François Desportes.
“There are so many depictions of the favorite dogs of Louis XV, Louis XIV, and I thought that Choupette is a perfect match,” he explains to me. “It’s the equivalent of today to these royal pets. I want to present Choupette in the same way as these royal pets in the 18th century were presented.” Initially, he sourced some photos of Choupette and got to work. The first painting he did, of Choupette in a spectrally lit forest clearing, was directly styled after Oudry’s 1726 portrait of Polydore, one of Louis XV’s hunting dogs. But Renneisen felt dissatisfied with what he had created. “It is not really Choupette,” he adjudges, “but more an invention of a white cat supposed to be Choupette.”
To do better, he felt like he needed Choupette herself, so in 2024, he tracked down Bérullier and secured permission from Bérullier and Caçote to photograph her, in order to capture images he could use for paintings.
In truth, Renneisen tells me, the ensuing photo session wasn’t that successful. He would like to have seen Choupette in certain poses, but it became apparent that his expectations were unrealistic. “When she realizes that you want something,” he says, “she doesn’t want to do it.”
No matter. He was also given lots of photos he hadn’t seen, and these guided him. Choupette was difficult to paint—“because of the texture, this fur, all the shades of her color”—but bit by bit, a portfolio came together.
Renneisen returned to Paris this February to photograph Choupette a second time, now alongside some of the paintings he had made. I ask him whether he got the sense that Choupette recognized herself in his paintings.
“No, I don’t think so,” he replies. “All the fuss we do about her, all this concept of celebrity, giving a meaning to her, everything—this is us, for the humans.” He further notes: “Choupette is not a diva. She’s a cat, and we want to see the diva in her.” I point out that a lot of people fixate on Choupette’s character, and on what she’s thinking. I ask him whether he does that too.
“No,” he says. “No, no, no. I accept her as a cat. She’s a cat.”
And that is where I believed my grand Choupette quest—often surreal and delightfully absurd—had reached its natural end. But I was wrong.
Long after my return from Paris, as this article is going to press, I receive a message that Caçote might answer some questions in writing. I send some, and wait. Eventually, answers arrive.
One thing I ask Caçote about are those day-to-day diaries of Choupette’s life written between 2012 and 2019, of which she was the primary author. Most of the 100 or so volumes that she believes exist are no longer in her possession. “I miss them,” she writes. “I’d like to pick one at random and reread it. Karl loved to do that too.” And, she adds, “It’s very frustrating, especially since I asked for them after Monsieur’s death and was told they were part of the estate, so they weren’t given to me. I was told they might be given to me later, but I’m still waiting. I’d like to know what happened to them!!”
But of all Caçote’s answers to my questions, the following three are the ones that tell me the most about what I want to know:
Is taking care of Choupette—with everything that entails—a heavy responsibility for you?
“Yes, of course!! I’m always afraid of being judged. What I do know is that Choupette is happy at home, and that’s the main thing.”
Choupette is often called “the richest cat in the world,” and newspapers frequently report that you’ve received huge sums of money to take care of her. I understand that this isn’t true. What do you think of this misconception, and what would you like people to know about it?
“I want to be completely transparent: today, we have received absolutely nothing. Given the situation’s complexity, I have had to hire expensive lawyers to claim the inheritance in my name and ensure that Karl’s wishes are properly respected.
“While things are being sorted out, I’m doing my best to honor his wishes, especially that Choupette wants for nothing. That’s my top priority. In addition to caring for her, I work part-time to support her. She receives all the love, attention, and care she needs.
“The most important thing is that she’s happy, surrounded by love and affection, and protected as Karl would have wanted. We remain hopeful that the situation will one day be resolved peacefully.”
What is Choupette doing right now?
“She’s taking a quiet nap.”
This article appears in the June 2026 print edition with the headline “Cat Heir.” When you buy a book using a link on this page, we receive a commission. Thank you for supporting The Atlantic.
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