{"id":4501,"date":"2017-03-26T19:56:13","date_gmt":"2017-03-27T00:56:13","guid":{"rendered":"http:\/\/wistful-signature.flywheelsites.com\/ckjip\/?p=4501"},"modified":"2017-03-26T19:56:13","modified_gmt":"2017-03-27T00:56:13","slug":"intellectual-property-rights-fashion-industry","status":"publish","type":"post","link":"https:\/\/studentorgs.kentlaw.iit.edu\/ckjip\/intellectual-property-rights-fashion-industry\/","title":{"rendered":"Intellectual Property Rights in the Fashion Industry"},"content":{"rendered":"

By: Harshini Tippareddy<\/strong><\/p>\n

One of the major contributors to the U.S. economy is the fashion industry. Fashion is a $1.2 trillion global industry, with more than $250 billion spent annually just in the United States.[1]<\/a> As trends constantly evolve and brands create new, innovative designs each season, major retailers, wholesalers, design houses, and individual designers look to forms of intellectual property for protection.[2]<\/a><\/p>\n

The general policy of intellectual property law is to encourage innovation so that the public at large can benefit from it. Since the invention is for the public\u2019s benefit, and not to make the inventors rich, striking this fine balance between incentivizing the inventors to create has lawyers and judges testing the boundaries every day.<\/p>\n

Copyrights<\/strong><\/p>\n

U.S. copyright law protects \u201coriginal works of authorship fixed in a tangible medium of expression.\u201d[3]<\/a> Since the current copyright statute doesn\u2019t offer protection to fashion designs, courts interpreting copyright law have consistently declined to extend protection to clothing because its utilitarian uses outweigh the ornamental features.[4]<\/a> The style of the dress, regardless of how original or nonessential for function that design may be, is not copyrightable.[5]<\/a> However, some elements of clothing are fully protectable if the artistic features incorporated in the clothing are \u201cseparately identifiable and \u2018capable of existing independently as a work of art.\u2019\u201d[6]<\/a><\/p>\n

In Kieselstein-Cord v. Accessories by Pearls, Inc.<\/em>, the court determined whether a belt buckle, serving a utilitarian function designed to fasten belts and hold up articles of clothing, could receive copyright protection.[7]<\/a> The district court held that the \u201cpictorial, graphic, or sculptural features\u201d couldn\u2019t be identified separately from the utilitarian aspects.[8]<\/a> On appeal, the court stated, \u201cthis case is on the razor\u2019s edge of copyright law\u201d as it was testing the fine boundaries.[9]<\/a> The appellate court reversed the district court\u2019s holding because the \u201csculptured designs cast in precious metals-decorative in nature and used as jewelry,\u201d were separate enough to be protected.[10]<\/a> To clarify further, when an element of the clothing is taken off, it should be able to independently meet the requirements for copyright protection.<\/p>\n

Trademarks<\/strong><\/p>\n

Trademarks are used to distinguish products and brands from one another, and can play a pivotal role in protecting the designer\u2019s reputation.[11]<\/a> Words, phrases, symbols, and designs convey a great deal to the consumer regarding the level of quality and goodwill of a brand.[12]<\/a> Oftentimes, marks make it easier for consumers to quickly identify the source of the product and reflect a brand\u2019s quality.[13]<\/a><\/p>\n

In 1975, famous international fashion house Bottega Veneta presented its first collection of handbags featuring a design on the outside consisting of thin strips of fabric threaded together.[14]<\/a> Over the years, the design, famously known as the \u201cBottega Weave\u201d, became a recognizable feature referring to the fashion house.[15]<\/a> Unlike other fashion brands, Bottega Veneta didn\u2019t use a logo or a brand name on the outside of its products, and the weave design served as the product\u2019s visual signature alerting consumers.[16]<\/a> When Bottega Veneta first applied to register the weave design in 2007, the examiner refused the design four times on grounds that: the design served a utilitarian advantage of strength and durability, the mark was non-distinctive, and the mark was only ornamental.[17]<\/a> In response, Bottega Veneta demonstrated that the design served as a visual indicator that immediately notified consumers that the product was from their brand.[18]<\/a> The weave served no function, as it did not make the products more durable or strong.[19]<\/a> Bottega Veneta offered evidence of acquired distinctiveness because of the longstanding use of the design, the amount of money spent on promoting and advertising the goods with the design, the commercial success of the products, and the media references to consumers\u2019 singular association of the design with Bottega Veneta.[20]<\/a> In 2013, the Trademark Trial and Appeal Board (TTAB) ruled for Bottega Veneta and overturned the examiner\u2019s refusal. The board wrote that there was ample evidence that the \u201capplicant\u2019s weave design is recognized by consumers as a trademark for applicant\u2019s goods.\u201d[21]<\/a> Although this case opens the door for other designers to seek trademark protection, it exemplifies the problems faced by fashion brands in obtaining intellectual property rights. The protection granted to Bottega Veneta in this case is very narrow, making it easy for competitors to infringe. The board specifically noted that the trademark only applied to a weave design that is identical to the mark described in the application, right down to the millimeter of fabric.[22]<\/a><\/p>\n

While brands like Bottega Veneta fight to obtain a trademark in the first place, other fashion brands fight to enforce their trademark rights. Over the years, Adidas has aggressively protected the stripe design with countless lawsuits and trademark oppositions against retail chains and fashion designers, ranging from Forever21 to Marc Jacobs.[23]<\/a> Adidas, the holding company for the Adidas Group, has a registered trademark for their famous \u201cThree Stripe\u201d design.[24]<\/a> Recently, the German sportswear giant sued Puma over this trademark.[25]<\/a> Adidas claims that Puma\u2019s soccer cleats using four diagonal stripes on the side infringe the company\u2019s famous three-stripe design. Adidas argues that Puma\u2019s design is \u201ca blatant attempt\u2026to trade on the goodwill and commercial magnetism adidas has built up in the three-stripe mark and to free-ride on adidas\u2019s fame as a preeminent soccer brand.\u201d[26]<\/a> Although Adidas\u2019s strategy of fiercely protecting its \u201cThree Stripe\u201d trademark might seem trivial and unnecessarily aggressive to some, this is the cornerstone of trademark law. The mark is meant to protect against consumer confusion.[27]<\/a> In other words, it is all about prohibiting copied labels and designs that deceive consumers into believing that copied design is an original.<\/p>\n

Patents<\/strong><\/p>\n

When thinking of fashion design and intellectual property, copyright and trademarks immediately come to mind, but patent protection is another avenue for designers to protect their technical innovations.\u00a0 Patents give designers the right to exclude others from making, using, offering for sale, importing or selling their invention in the United States.[28]<\/a> Some examples of fashion patents include the technology used to manufacture CROCS shoes, wrinkle-free fabrics, UV-filtering textiles that are resistant to fire, and water-repelling textiles.[29]<\/a><\/p>\n

In 1987, a Danish biotech company, Novozymes, pioneered the use of enzymes in fabric treatments.[30]<\/a> Novozymes patented a technology for the treatment of \u201cstone washed\u201d jeans using an enzyme called cellulase.[31]<\/a> Cellulase would remove some of the indigo dye from denim giving the fabric a worn appearance.[32]<\/a> Within three years of the patent, most of the denim finishing industry was under license from Novozymes to use cellulase.[33]<\/a> Today, Novozymes holds more that 4,200 active patents.[34]<\/a><\/p>\n

Another revolutionary fashion invention worthy of patent protection was awarded to Suberis, an innovative fabric made of cork. Designed by an Italian designer, Anna Grindi, Suberis was said to be tough, resistant, delicate to touch, and comfortable to wear.[35]<\/a> Ms. Grindi experimented with cork in the late 1990s by testing out various ingredients and adding them to cork in a pressure cooker.[36]<\/a><\/p>\n

The Take-Away<\/strong><\/p>\n

Even though designs are afforded protection in the form of copyrights, trademarks, and patents, the fashion industry has faced numerous hurdles trying to obtain this protection. While the law wants people to express themselves freely, it doesn\u2019t want to extend protection to anything that serves a utilitarian purpose and hinders further invention. In the courts view, clothing may look fashionable and trendy, but its primary purpose is to cover us up.<\/p>\n

The fashion industry has lobbied Congress to modernize intellectual property law to allow for greater protection, but none have come to pass.[37]<\/a> In 2012, Senator Chuck Schumer of New York proposed the Innovative Design Protection Act of 2012 to grant copyright protection to fashion designs.[38]<\/a> Unfortunately, with the transition between the 112th<\/sup> and 113th<\/sup> Congress in 2013, the Act didn\u2019t survive.[39]<\/a> While most of society enjoys fashion and invests on trendy designs, the fashion industry eagerly waits for Congress to revise intellectual property law to afford them greater protection.<\/p>\n

Although current intellectual property laws are partially to blame for the lack of greater protection for fashion designs, the fashion industry has also neglected to pursue all avenues of intellectual property rights.[40]<\/a> Many brands protect their trademarks but forget other aspects of their designs that may also be protectable. The short life cycle of a product as fashion trends come and go has deterred fashion houses from pursuing all avenues of design protection.[41]<\/a> However, while some trends change, some stay timeless and classic for ages. If a design succeeds and the designer has not obtained protection in the appropriate time frame, infringers will be able to copy their designs. In the long term, cheap knock-offs can damage the brand\u2019s goodwill in the form of lost sales, loss of value to their new designs, existing portfolio and inventory. [42]<\/a> Intellectual property rights can boost income through sales, licenses, and commercialization of existing and new products.[43]<\/a> In the current cutthroat business environment, intellectual property rights can provide a competitive advantage for the fashion industry to further innovation and creative expression.[44]<\/a><\/p>\n

[1]<\/a> Joint Economic Committee Democratic Staff, The Economic Impact of the Fashion Industry<\/em>, U.S. Congress (Feb. 6, 2015), https:\/\/maloney.house.gov\/sites\/maloney.house.gov\/files\/documents\/The%20Economic%20Impact%20of%20the%20Fashion%20Industry%20–%20JEC%20report%20FINAL.pdf.<\/p>\n

[2]<\/a> Julie Zerbo, Intellectual Property is an Enormous Asset in the Fashion Industry<\/em>, The Fashion Law (July 27, 2016), http:\/\/www.thefashionlaw.com\/home\/intellectual-property-is-an-enormous-asset-in-the-high-fashion-industry.<\/p>\n

[3]<\/a> 17 U.S.C. \u00a7102 (2015).<\/p>\n

[4]<\/a> Beth Hutchens, Don\u2019t Copy My Blue Suede Shoes: Copyright Protection for Fashion Designs<\/em>, IP Watchdog (September 23, 2010), http:\/\/www.ipwatchdog.com\/2010\/09\/23\/copyright-protection-for-fashion\/id=12602\/.<\/p>\n

[5]<\/a> Melville Nimmer, Nimmer on Copyright<\/em> \u00a7 2.08[H] (1979).<\/p>\n

[6]<\/a> Kieselstein-Cord v. Accessories by Pearl, Inc., 489 F.Supp. 732, 735 (S.D.N.Y. 1980).<\/p>\n

[7]<\/a> Id.<\/em><\/p>\n

[8]<\/a> Id.<\/em><\/p>\n

[9]<\/a> Kieselstein-Cord v. Accessories by Pearl, Inc., 632 F.2d 989, 990 (2nd<\/sup> Cir. 1980).<\/p>\n

[10]<\/a> Id.<\/em> at 989.<\/p>\n

[11]<\/a> Julie Zerbo, Trademark Law<\/em>, The Fashion Law (Sept. 19, 2016), http:\/\/www.thefashionlaw.com\/learn\/trademark-law\/.<\/p>\n

[12]<\/a> Id.<\/em><\/p>\n

[13]<\/a> Id.<\/em><\/p>\n

[14]<\/a> Appeal Brief for Application, In re<\/em>: Bottega Veneta International S.a.r.l., No. 77219184, (T.T.A.B. June 29, 2007), http:\/\/ttabvue.uspto.gov\/ttabvue\/v?pno=77219184&pty=EXA&eno=6.<\/p>\n

[15]<\/a> Id.<\/em><\/p>\n

[16]<\/a> Id.<\/em><\/p>\n

[17]<\/a> Id. <\/em><\/p>\n

[18]<\/a> Id.<\/em><\/p>\n

[19]<\/a> Id.<\/em><\/p>\n

[20]<\/a> Id.<\/em><\/p>\n

[21]<\/a> Id. <\/em><\/p>\n

[22]<\/a> Julie Zerbo, Cases of Interest: In re Bottega Veneta International S.a.r.l.<\/em>, The Fashion Law (October 6, 2016), http:\/\/www.thefashionlaw.com\/learn\/in-re-bottega-veneta-international-sarl.<\/p>\n

[23]<\/a> Julie Zerbo, Adidas Settles Lawsuits with Marc Jacobs and Forever 21<\/em>, The Fashion Law (Feb. 2, 2016), http:\/\/www.thefashionlaw.com\/home\/adidas-settles-suits-with-marc-jacobs-and-forever-21.<\/p>\n

[24]<\/a> Legal Notice<\/em>, Adidas Group, http:\/\/www.adidas-group.com\/en\/service\/legal-notice\/.<\/p>\n

[25]<\/a> Bill Donahue, Adidas Sues Puma Over \u2018Three-Stripe\u2019 Trademark,<\/em> Law360 (Feb. 21, 2017, 2:38 PM EST), https:\/\/www.law360.com\/articles\/893823\/adidas-sues-puma-over-three-stripe-trademark.<\/p>\n

[26]<\/a> Id.<\/em><\/p>\n

[27]<\/a> David V. Radack, Likelihood of Confusion-The Basis for Trademark Infringement<\/em>, TMS (Dec. 2002), http:\/\/www.tms.org\/pubs\/journals\/jom\/matters\/matters-0212.html.<\/p>\n

[28]<\/a> 35 U.S.C. \u00a7 271 (2015).<\/p>\n

[29]<\/a> Filma V. Head, Intellectual Property in the Fashion Design Industry<\/em>, Altacit Global, http:\/\/www.altacit.com\/publication\/ipr-in-fashion-industry\/#i_10.<\/p>\n

[30]<\/a> IP and Business: Intellectual Property in the Fashion Industry<\/em>, WIPO Magazine, May\/June 2005, at 16, http:\/\/www.wipo.int\/export\/sites\/www\/wipo_magazine\/en\/pdf\/2005\/wipo_pub_121_2005_05-06.pdf.<\/p>\n

[31]<\/a> Id.<\/em><\/p>\n

[32]<\/a> Head, supra<\/em> note 29.<\/p>\n

[33]<\/a> WIPO, supra<\/em> note 30.<\/p>\n

[34]<\/a> Head, supra<\/em> note 29.<\/p>\n

[35]<\/a> Kate Singleton, Turning Cork Into Couture<\/em>, N.Y. Times, Aug. 22, 2011, http:\/\/www.nytimes.com\/2011\/08\/23\/fashion\/23iht-FCORK23.html.<\/p>\n

[36]<\/a> Id.<\/em><\/p>\n

[37]<\/a> Christiane S. Campbell, Protecting Fashion Designs Through IP Law<\/em>, Duane Morris (Apr. 14, 2015), http:\/\/www.duanemorris.com\/articles\/protecting_fashion_designs_through_ip_law_5516.html.<\/p>\n

[38]<\/a> Tori Telfer, Fashion Designs Aren\u2019t Protected By Copyright Law<\/em>, SO Knockoffs Thrive as Designers Suffer, Bustle, Sept. 3, 2013, https:\/\/www.bustle.com\/articles\/4527-fashion-designs-arent-protected-by-copyright-law-so-knockoffs-thrive-as-designers-suffer.<\/p>\n

[39]<\/a> Id.<\/em><\/p>\n

[40]<\/a> Zerbo, supra <\/em>note 2.<\/p>\n

[41]<\/a> Id. <\/em><\/p>\n

[42]<\/a> Id.<\/em><\/p>\n

[43]<\/a> Id.<\/em><\/p>\n

[44]<\/a> Id.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

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Fashion is a $1.2 trillion global industry, with more than $250 billion spent annually just in the United States.[1] As trends constantly evolve and brands create new, innovative designs each season, major retailers, wholesalers, …<\/p>\n","protected":false},"author":3,"featured_media":4502,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"image","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-4501","post","type-post","status-publish","format-image","has-post-thumbnail","hentry","category-journal-blog","post_format-post-format-image","column","twocol"],"yoast_head":"\nIntellectual Property Rights in the Fashion Industry - Chicago-Kent | Journal of Intellectual Property<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/studentorgs.kentlaw.iit.edu\/ckjip\/intellectual-property-rights-fashion-industry\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Intellectual Property Rights in the Fashion Industry - Chicago-Kent | Journal of Intellectual Property\" \/>\n<meta property=\"og:description\" content=\"By: Harshini Tippareddy One of the major contributors to the U.S. economy is the fashion industry. 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