design

How the Fashion Industry Protects Handbags.

Gianpaolo Todisco - Partner

Designer handbags have long been iconic symbols, representing not only the prestige of a brand but also reflecting the status and individuality of their owners. These bags bear the names of some of the most influential fashion houses and celebrities, such as Beyoncé, who elevate their style with these luxurious accessories. However, with their popularity comes the challenge of counterfeiting, which—although widespread—cannot be condoned.

Renowned brands like Hermès, Chanel, and Louis Vuitton rely on a combination of intellectual property rights to protect their brand identities and safeguard their market position. At the same time, handbags provide an essential platform for emerging designers, offering them an opportunity to capture attention quickly and make a name for themselves.

A single handbag can benefit from multiple layers of intellectual property protection. For example, consider the 2017 collaboration between artist Jeff Koons and Louis Vuitton. In this case, the artwork featured on the handbag is protected by copyright, the brand name and logo are covered by trademarks, and the bag's overall shape is safeguarded by industrial design rights. If the handbag incorporates innovative materials or features a novel production process, these elements might also qualify for patent protection. This multi-faceted approach is particularly appealing to younger generations, including Millennials and Gen Z, who frequently showcase their fashion choices on social media platforms like Instagram, often using brands to express their identity.

1. Trademarks

Trademarks are one of the most vital forms of protection in the fashion industry, safeguarding distinctive brand names, logos, and symbols that indicate the source of the product. Fashion houses heavily rely on trademarks because they can be renewed indefinitely, provided they remain in use. Over time, their value increases, making them invaluable assets for these companies. Louis Vuitton’s logo, for instance, is one of the most recognized and powerful trademarks in the world. Founded in 1854, Louis Vuitton secured protection for its iconic "monogram toile" in 1896. Given its longstanding reputation, the brand adopts a strict zero-tolerance stance on counterfeiting, viewing the protection of designer creativity and intellectual property as fundamental to its longevity.

Trademark infringement, particularly in the form of counterfeiting, leads to consumer confusion and can significantly damage a designer's reputation, making it a contentious issue in the fashion world. To register a trademark, the brand must prove that it is distinctive. In cases of infringement, the burden falls on the brand to demonstrate that the counterfeit mark creates a likelihood of confusion regarding the product’s origin.

2. Copyright

Copyright protection can be applied to a handbag, but its coverage is limited. It safeguards original creations, including artistic designs, motifs, and decorative elements incorporated into the bag. However, functional aspects like shape or construction are not protected by copyright and must be defended through other legal mechanisms. One of the key advantages of copyright is that, in many jurisdictions, it does not require formal registration. Designers can enforce their rights if necessary, without going through a lengthy registration process.

3. Patents

Patents offer protection for specific components or innovations in handbag design, but obtaining them can be a complex and time-consuming process. Brands like Hermès and Louis Vuitton, with significant financial and legal resources, are capable of securing patent protection, even when the outcome of enforcement efforts may be uncertain. To qualify for a patent, the product must be novel, useful, and non-obvious to experts in the field. For example, a newly developed clasp or an innovative fabric might be eligible for patent protection. Louis Vuitton, for instance, obtained its first patent for a lock in 1890, and more recently, patented a handbag featuring a flexible OLED screen.

4. Industrial Design Rights

Industrial design rights (or design patents) are particularly effective in protecting the aesthetic aspects of handbags. These rights cover the visual elements of a product, including its shape, patterns, and colors. Industrial design rights can often bypass the need to prove distinctiveness or likelihood of confusion, making them a strategic choice for fashion houses like Hermès, Chanel, and even up-and-coming designers such as Victoria Beckham.

5. Unfair Competition

In addition to the specific intellectual property protections outlined above, fashion companies can also invoke unfair competition laws to guard against imitation. By filing claims for unfair competition, brands can target competitors that produce items mimicking the overall look and feel of their products. To prevail, the company must demonstrate that the design is distinctive and that the imitation has caused consumer confusion or damaged the company’s reputation.

Conclusion

By applying a combination of intellectual property rights, fashion designers and brands gain exclusive rights to produce and market their creations. Intellectual property not only turns seasonal products like handbags into timeless, iconic pieces but also strengthens the brand identity of the companies behind them. In this way, intellectual property plays a critical role in protecting innovation, preserving brand reputation, and sustaining the fashion industry as a whole.

The commercial success of a fashion item does not automatically entail recognition of copyright protection (in the absence of proof of creativity and artistic value)

Legal protection of fashion designers’ creations counts several means: from unfair competition to design protection, shape marks, to the protection offered by copyright law (L. No. 633/1941): these instruments offer different kinds of protection and can be used only if specific requirements are met, which must always prooved.

It is common in this field seeing fashion labels trying to "dress up" their products with a variety of intellectual property titles, registering them, for example, as shape marks or as industrial design, in order to increase the level of protection against possible imitations.

However, although protection by registration of intellectual property rights in the fashion industry is particularly widespread, the temporary nature of the rights conferred by registration may be an obstacle to the protectability of garments or accessories when their commercial success is particularly long-lasting: in these cases, in order to have access to protection extended in time and which goes beyond the formalities required for registration, it is necessary to prove not only the particular liking of the public, but also the creativity and artistic value of the product to aim to copyright protection.

An emblematic case of the possible coexistence of several levels of protection for fashion items and of the difficulties connected to the proof of the creativity and artistic value of a product aiming to be considered as copyrighetd is the one recently dealt with by the Court of Milan.

The case concerned the marketing of bags imitating the famous "Le Pliage" bag by Longchamp, protected by two European Union three-dimensional trademark registrations claiming its peculiar trapezoidal shape, and also characterised by the combination of further original elements, such as the rounded flap, the tubular handles and the contrast in colour and materials between the nylon and leather elements.

The plaintiff claimed that the "Le Pliage" bag model was created in 1993 and has been still marketed worldwide through more than 1,500 sales outlets and also online and requested protection against imitations, invoking not only the protection provided for on the basis of three-dimensional trade mark registrations (pursuant to articles 2 and 20 C.P.I. and art.9 EU Reg. no. 2017/1001), but also the violation of the rights of the author and of the principles protecting fair competition on the market (art. 2598 c.c.).

The Court first of all recognised the infringement of the plaintiff's three-dimensional European trademarks insofar as it was established not only their distinctive capacity due to the manner of use and presentation of the trademark itself and the information and suggestions conveyed through advertising and the perception that the shape determines on the consumer public, but also the taking over, by the imitative bags, of all the distinctive elements of the "Le Pliage" model.

With regard to the invoked copyright protection, referring to its own case law on this point, the judgment ruled that it was not possible to identify in this case the actual existence of the artistic character necessary for the form of the bag to enjoy such protection.

The Judges found that, apart from the undeniable commercial success gained on the market, the plaintiff had not enclosed the elements that should have confirmed the presence of an artistic value in the creation of the external appearance of the bag model in question.

In other words, there was no evidence at all of the requirements of creativity and artistic value which presuppose the applicability of Art. 2.10 of the Copyright Act.

As is well known, artistic value can be inferred from a series of objective parameters, such as the recognition by cultural and institutional circles of the existence of aesthetic and artistic qualities, exposure in exhibitions or museums, publication in specialist magazines, the awarding of prizes, the acquisition of a market value so high as to transcend that linked solely to its functionality or the creation by a well-known artist and, in the absence of evidence, it is not possible to have access to the protection provided for by the law on copyright.

THE FIRST ROUND OF THE BATTLE DIESEL/ZARA GOES TO...

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Otb, the group founded by Renzo Rosso, which includes brands such as Diesel, Maison Margiela and Marni, recently won a judgment before the Milan court against the Inditex group that controls the well-known Zara brand. The company founded by Renzo Rosso has seen to welcome from the Court of Milan its arguments sustained in the case started in 2015 against the Spanish company, accused of having reproduced with the Zara brand of jeans produced by Diesel and sandals designed by Marni.

Although the Iberian group supported the existence of substantial differences between its own products and those of Otb, claiming the impossibility of the Court award damages being a foreign company without headquarters in Italy, the judges decreed violation of the registered design of the Skinzee-sp jeans model and the unregistered design of the Fussbett footwear.

It is not the first time that the Iberian group is involved in such accusations. Just over a year ago, the Danish "Rains" label specializing in rainwear has brought a lawsuit to Inditex in front of the Danish Commercial Court for breach of design and unfair competition by requesting the immediate termination of the sales of an allegedly infringing model and the compensation for damages for the loss of the corresponding profits.