TEDx Speaker highlights the advantages of a deregulated fashion industry

ReadyToShare.org

ReadyToShare.org

“Copyright law’s grip on film, music and software barely touches the fashion industry … and fashion benefits in both innovation and sales, says Johanna Blakley. In her talk, she talks about what all creative industries can learn from fashion’s free culture”

Everything you need to know about Copyright Law and the fashion industry.

Watch the video here.

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New Posts Coming

I’m disappointed to say it feels like forever since I’ve posted anything new on this blog. I think I let myself get a little too distracted with school and life, and it’s unfortunate because I have so much to write about! Since my last post, I’ve actually completed a course in Trademark Law (so now I’ll actually know what I’m talking about), and I completed my thesis for my IP concentration at Suffolk.

Writing a thesis is more work than I ever imagined it would be. Fortunately, I got to choose my topic and I spent a great deal of time researching (and writing about 36 pages on) copyright protection for fashion design. About a month before I was meant to turn in a finished draft I was lucky enough to use a personal connection to reach out and interview the world-renowned fashion designer, Helmut Lang. Mr. Lang offered me his insight into the relationship between innovation, copying, and success in the fashion industry and I was so fortunate to be able to incorporate his perspective in my analysis of why the fashion industry will continue to thrive without copyright protection. Not only was I lucky to contact such a successful and respected designer, innovator and artist, but he’s also a personal icon. There aren’t many high-end designs that I could see myself wearing right off the runway (for practicality mostly), but I can confidently say that I would wear anything and everything that walks down a Helmut Lang runway, and I just hope he knows how thankful I am that he took the time to answer my questions. (free clothes not even necessary)

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Looking back to when I first launched this blog, when I realized that fashion design was an area of creative art not protected under copyright law, my first instinct of course was, “that’s insane, fashion is an incredibly significant form of art that deserves the same protection as any other!” But on a closer look and after all too much research, it became clear to me that fashion innovation thrives, for designers, producers, manufacturers, and consumers, despite the lack of protection, and may in fact depend on it. It will take a lot of posts to explain, but this is the position I’ve taken on the issue. My study was based on an international comparison, and an in-depth look at the nature of innovation and fashion trends. Some may be aware that fashion design is offered the protection of a “Community Design” in the European Union, which those lobbying for a sui generis “copyright” regime in the U.S. often attribute the “superior” fashion industries of Europe to. However, my studies have shown me that this is an easy misconception. The U.S. is considered one of the top five fashion hubs of the world, along with Italy, the UK, France, and Japan. The study I’ve cited to contains a variety of factors that contribute to a successful fashion industry, and copyright protection was never referenced. Furthermore, the E.U. Community Design is incredibly underutilized in the E.U., which would not be the case if copyright protection was necessary for the survival of a fashion industry.

These points are being made in a very small and generalized nutshell. I’ve come across a lot of fascinating information which I plan to use in jolting this blog back to life. Hopefully those interested in this area of law or in fashion will take the time to consider why copyright protection is likely to harm the fashion industry, because I too once believed otherwise.

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Helmut Lang
Image Courtesy of Vogue.com

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And so clears the red cloud…

Just three weeks ago, after seven long months, the US Court of Appeals has finally rendered its decision in the case of the Red-Lacquered Sole.

In case you haven’t been following, last year the high-end footwear designer, Christian Louboutin filed a claim against Yves Saint Laurent for infringing a registered trademark, after they manufactured monochromatic shoes that incorporated a red lacquered sole, which has been the signature mark of the Louboutin brand for the last 20 years. The District Court that heard the case attempted to tackle the question of whether a single color can serve as a trademark in the fashion industry and went so far as to implement a per se rule, that all such marks are invalid and thus not protected by trademark law.

Louboutin, having his “Red Sole Mark” registered with the USPTO for the last four years, filed to appeal the decision that would deem it invalid, and the appeal was held back in January. After months of waiting, the Appellate Court finally came down with their decision on September 5th, (I’ve been busy) and I think both sides have walked away with a win.

The Court found that the district court erred in interpreting the doctrine of aesthetic functionality by implementing a per se rule, and found that it would be inconsistent with the 1995 Qualitex Co. v. Jacobsen Products Co., (514 U.S. 159) decision, to deny a single color mark protection if it met the requirements for a valid mark set out under the Lanham Act. The debate comes down to whether granting trademark protection to a single color monopolizes a design element that inhibits competition in the marketplace, which is based on the theory that color has what’s called “aesthetic functionality”. But the Court reasoned that, ”distinctive and arbitrary arrangements of predominantly ornamental features that do not hinder potential competitors from entering the same market with differently dressed versions of the product are non-functional, and [are] hence eligible for [trademark protection].”‘ Fabrication Enters., Inc., 64 F.3d at 59.

With this in mind, the Court dove into the necessary factual analysis to determine whether the Red Sole Mark has acquired “secondary meaning” and warrants the protection Louboutin has been fighting for. The secondary meaning of a trademark is present when the mark identifies the source without performing any other significant function. The evidence offered in the case included records of advertising expenditures, media coverage and sales success over the last 20 years. After review, the Court found that Louboutin had in fact established a “limited secondary meaning,” meaning that through the company’s longstanding effort and success, they have established a worldwide association with the color red on the sole of a shoe, when in contrast with the upper sole, which does not extend to instances when it is the same color as the rest of the shoe. The Court found, as I previously expected it should, that it’s the “pop” of contrasting color in the design that consumers have come to recognize as the Louboutin signature. In fact the opinion references a study done in which consumers did not associate a monochromatic red shoe with Louboutin as often as they associated a contrasting-color design.

This factual finding is the basis for the new limitation on the very valid Louboutin “Red Sole Mark” and as such, the Court further held that YSL’s monochromatic red shoes did not fit the description of a “red lacquered outsole that contrasts with the color of the adjoining upper“, thus there was no need to analyze whether infringement occurred, and the injunction was thrown out.

So in the end, the Louboutin got to keep their trademark and YSL was free to make their monochromatic ruby slippers. Hopefully the decision will keep both sides happy in the years to come, and offer Louboutin more concrete protection against the more suspect infringers that produce cheap imitation Louboutins.

Case Closed.

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Gone Studying !

Finals have taken over my life and all my free time… new posts are coming soon, I promise.

In the meantime, check out these interesting articles…

Israel passes law banning models that are “too skinny”

How skinny?

Recently, in Israel, a new law has been passed that bans models with a BMI of 18.5 or less from appearing in print ads. The new legislation, entitled the “Photoshop Law,” also requires ads to disclose whether or not they’ve photoshopped the subjects.

This has been a longstanding effort by lobbyists concerned about the health of young women across the world. The fashion industry is one where it seems models continue to shrink every year and Israel has decided enough is enough. The new law wouldn’t impose any criminal sanctions but would allow say, the family of a young girl suffering or having died from anorexia, to pursue legal action against an advertiser in a civil suit. (With a heavy burden of proof, I’m sure)

For now, it seems it will hold fashion companies responsible for displaying the standard for beauty so many women are influenced by, old and young alike. The new law is meant to deter the display of an unhealthy body image as “the gold standard of beauty”, and I can’t say it’s a terrible idea. But I don’t think it’s being met with much enthusiasm by fashion designers or modeling agencies.

Some claim the BMI index isn’t a perfect fit for every body, and that certain models are naturally skinny and incapable of gaining weight, thus the new law would discriminate against them and prevent them from finding work.

And others, like Donatella Versace, just plain do not want “real women” modeling their designs. The designer rejected a photo shoot proposed by New York Daily News that wanted to do a pictorial featuring real women of New York (around size 6) modeling her Versace for H&M line. Apparently, the high-end designer rejected all but one of the proposed models, saying they just didn’t “fit Versace’s branding.” Hey, it’s your line, Donatella.

Versace for H&M ad

Whitney Thompson, cycle 10 winner of America's Next Top Model, and the first winner to meet the industry standard for "Plus Size"

Do you think it’s the legislature’s job to moderate on this issue?  Leave your thoughts below…

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