Why Shutting down Pirate Sites is ineffective.

A few years ago Europe witnessed the largest piracy-related busts in history with the raid of the popular movie streaming portal Kino.to.
Police officers in Germany, Spain, France and the Netherlands raided several residential addresses, data centers and arrested more than a dozen individuals connected to the site.
The operation wiped out the largest unauthorized streaming portal in Europe and was praised as a massive success. However, new research from the European Commission’s Joint Research Centre shows that the effect on end users was short-lived and relatively limited.
In a working paper titled “Online Copyright Enforcement, Consumer Behavior, and Market Structure” researchers examined clickstream data for a set of 5,000 German Internet users to see how their legal and illegal consumption habits changed in response to the shutdown.
One of the main conclusions is that the kino.to raid led to a short-lived decrease in piracy, after which piracy levels returned to normal. At the same time, the researchers observed only a small increase in the use of legal services.
It appears that while users of kino.to decreased their levels of piracy consumption by 30% during the four weeks following the intervention, their consumption through licensed movie platforms increased by only 2.5%,” the paper reads.
Based on the above the researchers conclude that if the costs of the raids and prosecution are factored in, the shutdown probably had no positive effect.
One of the policy implications could be to advise against these type of large piracy raids, as they do very little to solve the problem at hand.
However, the researchers note that the results should be interpreted with caution. For example, it doesn’t include any data on offline sales. Similarly, back in 2011 there were relatively few legal options available, so the effects may be different now.
That said, the current findings shed an interesting light on the limited effectiveness of international law enforcement actions directed at piracy sites.

 

Round Two in the Sky against Skype Trademark Battles goes to Murdoch's men.

British broadcaster BSkyB has won round two in its trademark infringement battle with Skype.

The European Union General Court found on Tuesday that the two names are too similar and could cause confusion. In 2012 and 2013 the Office for Harmonisation in the Internal Market (OHIM) upheld Sky’s complaint, but Skype then appealed to the EU court.

In today’s decision the court said that there were a number of contributing factors to its decision - in particular, their “degree of visual, phonetic and conceptual similarity”. Skype has attempted to argue that the “pronunciation of the vowel ‘y’ is no shorter in the word ‘skype’ than it is in the word ‘sky’.”

Skype also copped it over its cloud-shaped logo which the court found would be reminiscent of the standalone word "sky".

The argument that the word "skype" is highly distinctive and had even entered the lexicon for identifying voice over IP services was dismissed by the court.

Skype has one last lifeline - it can appeal to the European Court of Justice, but only on points of law and within the next 2 months. Calls to Skype and parent company Microsoft for comment were not returned at time of publication.

Is Pinocchio a valid Trademark?

With its decision of 25 February 2015 the Second Board of Appeal of OHIM partially upholding an appeal, has in fact confirmed the registrability as a trade mark of the word "Pinocchio".

In 2009, Disney had obtained by the Office of the registration of the word term "Pinocchio" for goods and services included in several classes. 

In 2012, Yves Fostier owner of a Community trade mark application which contains, the word "Pinocchio", but in a figurative trademark, had filed an application at OHIM to invalidate Disney’s trademark.

According to Mr. Fostier, Disney’s Trademark established an unacceptable monopoly on matters of law which entered in popular folklore and tradition. In any case, Disney’s application lacked of distinctive character, because popular and because it fell into the public domain. 

In the first degree the Office had, however, rejected Mr. Fostier’s arguments, observing that, on the one hand, the mere fact that a sign constitute the title of a story does not exclude the ability of the same sign to function as a trademark, and, second, the plaintiff had failed to demonstrate that the term "Pinocchio" was not capable of distinguishing the goods and services for which the mark was registered, nor he had proved that the term had become customary in a European language.

Mr. Fostier appealed the decision. 

This time, the Second Board of Appeal noted that, if a title is so well known to the audience to the point that it perceives the mark corresponding to designate primarily a title of a story or a book, that brand may be lacking distinctiveness. This will be more likely if it can be shown that several versions of the story have been published or that there have been numerous television and film adaptations, that have reached a wide audience. Therefore, although in principle the titles or the names of fictional characters can be registered and function as indicators of origin, it must be asked whether a sign is capable of being distinctive for the specific products and services covered by the mark.

According to the Second Board of Appeal Pinocchio belong to this special category of signs lacking distinctive character in relation to certain goods and services in Classes 9 (in particular film, video games, films, audio and video), 16 (children's books , books of drawings, cartoons), 28 (toys and the like), 41 (amusement parks and the like, theater productions, live performances) as consumers could be be led to believe that these goods and services are connected with the history and the character of Pinocchio.

Tsclex Lawyers to attend INTA 2015

Tsclex  will be attending the largest trademark conference of the year, with an eye towards solidifying ties with current clients and building new relationships with trademark attorneys from around the world.
 It is more important than ever for our lawyers to interact with their foreign counterparts to share common experiences and best practices to ensure that trademark rights continue to be strengthened in Italy.
Tsclex will be represented at this conference by Partner Gianpaolo Todisco and associate Martina Clochiatti. From May 2-6, 2015 the International Trademark Association (INTA) will hold its 137th Annual Meeting in San Diego, California, USA.

Headquartered in New York City, INTA was founded in 1878 and now has more than 6,000 members from more than 190 countries, and is recognized as the world’s leading international organization dedicated to the development and improvement of intellectual property.

To schedule a meeting with either Gianpaolo Todisco or Martina Clochiatti, please contact us at info@tsclex.com.
 

The Italian Supreme Court Rules on the "Alessi" Brand.

A few days ago, the Supreme Court ruled on the risk of confusion between a famous CTM trade mark  (Alessi) with the trademark "Exclusive Giacinto Alessi srl" which correspond to the name of the founder (Mr. Giacinto Alessi).

In the first two degrees, the courts had excluded any risk of confusion between “Alessi” and “Exclusive Giacinto Alessi” judging that the use of the latter was therefore legitimate.

The decision of the Supreme Court was however different according to the principles of limitation of the use of a surname which corresponds to a trademark.

The Supreme Court stated that "once a sign identical to the name of a person was validly registered as a trademark, the person who legitimately carries that name cannot adopt it (as a trademark) in sectors identical or similar to the previous trademark. The right to a name is, therefore, a clearly compressed in the economic and commercial sectors due to the prior registration of the name as a valid trademark.

The Court also argued that "Alessi"  is a  trademark  which has no links with the products / services offered and therefore stronger than the trademark “Exclusive Giacinto Alessi” which contains a descriptive term (the word exclusive).

 

Italian Radio Station Sentenced to Pay Overdue Neighboring rights

The Court of Milan, with ruling notified on August 2, 2015 sentenced that the nation wide known station radio RTL is obliged to pay to SCF, the Italian consortium of  record producers a sum equal to 2% of the gross receipts.

The judges of the court of Milan have ruled in the context of disputes brought by SCF in 2009 against the major Italian national radio networks. This past April SCF has reached an agreement with other broadcasters involved and judgment continued only against RTL that has not adhered to these arrangements.

The Court, after repeating the substantive and procedural legitimacy of SCF, sentenced  that in the absence of other agreements between the parties, the extent of the compensation for the direct disk or similar device due to the manufacturer in accordance with art. 73 L.A. is equal to 2% of the proceeds.

Copyright enforcement for graffiti?


If it sounds novel to apply copyright to graffiti art, that’s because it is: lawyers who work in this area say it’s not clear anyone has ever tried this in court. Copyright law could be extend to art that's on public walls? It very well may. Anasagasti, a rising star in Miami’s art scene, was the first graffiti artist to seek protection for his work: he hired a lawyer and filed a copyright infringement accusing American Eagle of stealing his work and looking for monetary damages.

Later, a large number of other artists filed suits against various corporations for copyright infringement. One was against the Italian fashion designer Roberto Cavalli for creating clothing, bags, and shoes that supposedly misappropriated a San Francisco street mural as its background print. All the artists claim their artwork was created legally and registered for copyright. Actually in the United States the requirements to obtain copyright for visual art are very low, there are only two requirements for an artwork to be eligible for copyright: it must be secured in a fixed medium and it must be original.
The lawsuits affirm that corporations have gone beyond any exception, putting the street art to use for their own commercial purposes. As Anasagasti’s suit argues, “In today’s fashion industry, affiliation with artists bearing such ‘street credibility’ is highly required by retail brands for the cultural reputation and access to the profitable youth demographic that it offers.”

How much is that street credibility worth? Both lawsuits spread some light on how could this value be measured. In Anasagasti vs. American Eagle as well as in the San Francisco artists suing Roberto Cavalli the value has been determined on sales data, including its software that tracks exactly how many customers viewed the ads and subsequently made purchases.
It’s not clear why the defendants wouldn’t have reached out to ask the artists for permission to use their work. They must have just thought that urban artists aren’t organized and aren’t going to think about copyright protection.

Nothing could be more antithetical from the “street culture” than luxury and glamour.

Seeking copyright protection may sound like the latest evolution of street art away from its outsider origins, but street artists have always pretended greater control over their work. Street artists don’t earn easily with their works, if corporations take advantages of their works, they deserve to be paid. If somebody's going to profit from this art, copyright may be just the instrument for ensuring that somebody is the artists themselves.

By Francesca Filipo

How are Moral Rights treated under Italian Copyright Law?

As other civil law countries, Italian Law recognizes moral rights under the current copyright legislation.

Moral rights are rights of creators of copyrighted works generally recognized in civil law jurisdictions and, to a lesser extent, in some common law jurisdictions. They include the right of attribution, the right to have a work published anonymously or pseudonymously, and the right to the integrity of the work. The preserving of the integrity of the work bars the work from alteration, distortion, or mutilation.

All these rights can be retained by the copyright holder regardless of the status of the economic rights.

In Italy, it is not possible for authors to assign or even waive their moral rights. This is following a tradition in European copyright itself, which is not regarded as an item of property which can be sold, but only licensed.

The purpose of the law is to protect the moral personality of the author as manifested in his work, provided it falls within what may be the subject of protection.

Italian Law places no time limit for claiming Moral rights; at the author's death the moral right may be claimed by his spouse and children and, in their absence, by parents and other ascendants. Each one of these can act without the consent of the other.

Moral right are inalienable and cannot be traded in any form.

What is the Artist's Resale Right?

The artist's resale right an “inalienable” right granted, in some jurisdictions,  to artists or their heirs to receive a compensation on the resale of their works of art. This right is often known by its French name droit de suite.

The directive 2001/84/EC of the European Parliament creates a right under European Union law for artists to receive royalties on their works when these are resold.  Member States may set a minimum sale price below which the artist's resale right will not apply: this threshold may not be more than 3,000 euros or 10,000 euros where the seller acquired the work of art directly from the artist less than three years before the resale.

The Artist’s Resale Right applies to the sale of artworks in the European Economic Area (EEA).  Artists who are nationals of these countries are therefore generally eligible to receive resale royalties.

Eleven European Union countries currently recognize “droit de suite” in their legislation. United Kingdom, Ireland, Austria and the Netherlands being still an exception. Of the eleven countries which recognize this right, only eight actually do collect the royalty.

The law applies to all “works of graphic and plastic arts”. Works of art must be original and the criteria for the original status of engravings, prints and lithographs are defined in agreements between the authors’ societies and auctioneers.

In Italy this right is granted to artists and their heirs for seventy years after his death on the occasion of transactions of works of art or manuscripts in which intervenes a professional art market. In particular, are subject to “droit de suite” all acts of resale, if they involve vendors, buyers or intermediaries represented by art market professionals, such as salesrooms, art galleries and art dealers in general, with the exception of sales between private individuals. The sales must be reported, by the professional acted as the seller or buyer broker, by declaration to the SIAE, within the period of ninety days from the sale. , the submission of the sale proceeds and compensation for all subsequent sales, are entirely charged to the seller.

The organization in charge of collecting the right below on behalf of all the artists is the SIAE, which currently governs the rights of authors affiliated companies, in which the royalty is already in force.

The compensation is calculated on the sale price, net of tax, on a percentage basis differentiated in relation to the different echelons, are calculated as follows:

•4% for the portion of the sale price up to  50,000.00 euros; (*)

•3% for the portion of the sale price of between 50,000.01 and 200,000.00 euros;

•1% for the portion of the sale price of between 200,000.01 and 350,000.00 euros;

•0.5% for the portion of the sale price of between 350.000,01 and 500,000.00 euros;

•0.25% for the portion of the sale price exceeding 500,000.00 euros.

The total amount of compensation cannot be still greater than 12,500.00 euros.

The SIAE, appointed in Italy to collect payments on the resale right for the artists, published in the Official Gazette a large list of authors whose works have been the subject of a sale which led to the maturation of the resale right, for which, however, has not yet been claimed that right. The gap between the real amount of droit de suite percentage on the sales and the amounts duly paid to the artists and their heirs shows how difficult is to effectively implement this European principle. 

By Francesca Filipo

YouTube Threatened with Big Copyright Lawsuit

Global Music Rights is a performing rights company that competes with other collecting societies such as ASCAP and BMI. Its clients include Pharrell Williams, John Lennon, The Eagles and Smokey Robison.

It claims that more than 20.000 videos are not licensed. Royalties that could amount to hundred of millions of dollars.

CEO Irving Azoff says that Google Inc. the owner of YouTube has shown no willing to cooperate and threatened to sue the company for copyright infringement.

Google responded by accusing Global Music Rights of attempting to circumvent the DMCA.

Google already settled a claim with Viacom this year by claiming that no money changed hands.

What is Italian Sounding?

Protecting and developing products requires raising awareness about the historical, cultural and social heritage of our country.

Geographic origin is especially important for Italy, the European country with the most products registered as DOP and IGP.

The term Geographic Indication (GI) refers to DOP and IGP products as established by article 2 of European Community Regulation n. 510/06, OF 20 March 2006.

The matter of the fact is that the so called Italian Sounding Syndrome does not only concern food products: the phenomenon has reached enormous proportions, affecting products of all kinds, violating intellectual property and thus becoming a legally pursuable offense which is costing Italy 100's of billion.

Exactly that happened in Canada. Maple Leaf Foods registers "Prosciutto di Parma" as a trade mark,

produces some salted-dried pork and sells it under the Italian name. Next?

You guessed right: producers who make the traditional, original prosciutto di Parma can't call it by its real name in Canada because Maple Leaf Foods was more clever with the paperwork... 

What is the difference between the two you might ask?  Well...for one, Parma (the original ) only sells ham...

The Panther goes to Court.

By order n. 46868 filed in the Court on 13 November 2014, the Second Criminal Chamber of the Italian Supreme Court decided, to remit the examination of United Penal Sections on the following question: "if the introduction on the market of serial morphological toys, not bearing any brand, constituents the unlawful reproduction of articles protected by trademark is an offense according to Articles 473 and 474, or in art. 517

of the criminal code".

The case arose from the introduction into Italian territory of a batch of 21,822 puppets depicting a counterfeited

MGM "Pink Panther".

On the merits, the Territorial Court observed that the puppets seized strongly resemble the character "Pink Panther", which are a specific registered trademark and, therefore, as such, subject to trademark protection.

The Court is expected to rule in the next two months.

Is Rubik's Cube a Trademark?

According to the judgment of 25 November 2014 (Case T-450/09) of the Court of Justice of the European Union, "the registration of the shape of the Rubik's Cube as a EU trademark is valid. The graphical representation of the cube does not involve a technical solution that prevents it to be protected as a trademark. "

The ruling solves a dispute arose as a result a registration request in front of the the application filed  in 1996, by Seven Towns a British company that manages the intellectual property rights related to the "Rubik's Cube" - for the registration as a Community trade mark of the three-dimensional shape of the cube to "puzzle in three dimensions.

In 1999 Seven Towns registered the famous cubes as a European trade mark. In 2006 Simba Toy, a German company that manufactures toys, filed for declaration of invalidity of the trademark.

According to the Court, the thick black lines that are part of that structure and appearing on the representations of the cube drawing a grid within them do not make any reference to a rotation capacity of the individual elements of the cube and, therefore, are not a technical function.

Indeed, the ability of rotation of the vertical and horizontal bands of the Rubik's cube is not derived from or black lines nor the grid structure, but by an internal mechanism of the cube that is invisible on its graphical representations. Consequently, the registration of the shape of the Rubik's Cube as a EU trademark can not be denied on the ground that it incorporates a technical function.

The Court also notes that the mark in question does not entitle the owner to prevent third parties to market all kinds of puzzles in three dimensions with a capacity of rotation, since the monopoly of commercialization of the owner is limited to the puzzle three dimensions having the shape of a cube whose faces are posted grid structure.

Finally, the Court considers that the cubic structure grid stand considerably from the representations of other puzzles in three dimensions on the market. This structure is therefore equipped with a distinctive character that enables consumers to identify the producer of the goods for which the mark is registered.

The ruling can now be appealed before the Court of Justice within two months of its service.

Linked Out.

The most striking aspect in the strict regulation of the new Italian code of professional conduct, which will be valid from December 15, is the fact that it quite clearly excludes the possibility for almost as many as 100.000 Italian lawyers to use not only of Facebook Pages or online advertising, but even LinkedIn.

There seems to be little room for misunderstandings. In fact the new wording of article 35 clearly states that online communication for law firms shall be possible "only on websites with their own domain name without possibility of redirecting information from another website."

This rule in not only surprising because clearly out of time with respect to the current digital communication context, but also because it punishes inappropriate behavior, like the use of local directories or even Google Maps.

The new Italian professional code of conduct seems to preclude the possibility for a law firm to defend and improve their reputation through the use of digital media and comparison with users.

While other professionals such as architects and designers show a steady increase in the Net as a community space to create and animate discussion groups not only for professionals, the new Italian professional code of conduct limits competition within the legal profession and transparency towards citizens.

The Battle over the Next Great Disruptive Technology

By Francesca Filipo and Martina Clochiatti

A 3D printer turns a blueprint into a physical object, built up layer by layer with a computer aided design program (CAD) simply running on your desktop computer.

Since 3D printers turned 3D printing professional services into low cost and on demand facilities, a wide range of products can be easily designed and manufactured at home. Any type of design can be found on the net where 3D printing communities share their files. No matter how it is created, once the CAD design exists it can be widely distributed just like any other computer file.

In many ways today’s 3D printing community resembles the open source community of the early 1990s. There is no central institution giving directions: users themselves invest time and thought in the evolutionary process. They are a relatively small, technically proficient group sharing their creations.

Popular websites like thingverse.com or shapeways.com where anyone may upload and download the design of a number of items were immediately facing IP rights infringement claims.

Recently, Moulinsart, which owns the rights to the cartoon Tintin, served Thingiverse with a Millennium Digital Copyright Act takedown notice. Thingiverse has been forced to remove a design individually developed by an user and freely inspired to Tintin character.

The same happened for the famous Star Wars Yoda character that, despite being turned into different objects, still represents a copyright infringement. The bust of Yoda is not something that you can duplicate or re-elaborate: “Even when designers take an object like that and change it, it's still legally protected”, as Disney legal team said.

Copyright, designs, patents and registered trademarks are the four IP classes that may be infringed by using a 3D printer. Many of these issues have already been discussed with regard to file-shared music and movies. Although 3D printing of copyrighted objects at home may constitute an infringement, the copyright will become increasingly impractical or impossible to enforce.

Technically, a consumer who copies a work by printing an already existing object will be liable for copyright infringement unless the consumer has permission from the copyright owner or only privately uses the printed object.

In this context the majors industries are trying to fight back the new digital era developments by strengthening IP rights, however it is undeniable that at some point a compromise will be necessary.

Guess What?

The Court of appeal of Milan rendered a new decision in the dispute between Gucci and Guess on the alleged imitation of some of Gucci’s iconic design elements in its products, such as the large block letter “G” and red and green stripes.

In their defense, Guess slammed down the allegations and refuted by saying that the patterns and designs are in fact common in the world of fashion and it’s not particular to Gucci.

In a ruling rendered on September 15, 2014, no. 3308, the Court of Appeal of Milan has partially upheld the appeal filed by Guccio Gucci S.p.A. against the American brand GUESS reforming in part the judgment of first instance no. 6095 of 2013, which decided on the request by Gucci to declare the counterfeiting of numerous national brands and Community ownership of the actress, as well as unfair competition pursuant to art. 2598, n. 1 and 2 and 3, cod. civ., also in terms of parasitic competition especially with respect to the

This ruling seems to put an end to a battle which began in 2009 in front of the New York Federal Court.

The Protection of Trade Secrets Under Italian Law






This article by Gianpaolo Todisco was published in the September 2014 issue of the IBA  Intellectual Property and Entertainment Law Newsletter of the International Bar Association Legal Practice Division.


Background

In order to ensure that information controlled by a company is protected, it is necessary that this is economically exploitable and secret, meaning it is hardly accessible as well as adequately protected by whoever is the rightful owner.
In Italy, in order to claim adequate protection of a trade secret, the owner must demonstrate the existence of a documented and stringent protection policy and to have arranged appropriate measures like internal rules, specifications, safety procedures, confidentiality clauses etc.

The Legal Frame

Under Italian Law, the protection of trade secrets is granted under Intellectual Property and Unfair Competition Law as well as under the Criminal Code.
Before the reform of 1995 which acknowledged TRIPS Agreements, a specific and autonomous legal qualification for the protection of trade secrets could not be found in the Italian system. Until then, protection could have been found under the general principles of contract law and unfair competition law. However, the 1995 reform finally introduced a separate article (article 6-bis) in the 1939 Italian Patent Act[i] which protected general corporate information from misappropriation.
In 2005, the protection of corporate information under article 6 bis of the Patent Act was transferred and expanded in articles 98 and 99 of the Intellectual Property Code (hereinafter the IP Code).

Articles 98 of the IP Code
Article 98 defines the perimeter of what is considered secret information under the IP Code. According to such article:
1.     Corporate information, and technical-industrial experiences, which are under the legitimate control of its holder are protected, if such data:
a)     are secret in the sense that they, as a whole or in the combination of their single components, are not known among (or readily accessible to) experts and professionals;
b)     have economic value due to their secrecy;
c)      are subject to adequate secrecy measures by persons who lawfully control such data .

2.     Evidence and data which involve a considerable effort for the grant of authorization of chemical, pharmaceutical or agricultural products involving the use of new chemical substances are also protected”.
It must be underlined that art. 98 of the IP Code does not only protect general corporate information, (as it happened under art. 6 bis of the former Italian Patent Act) but also more general technical – industrial experiences as commercial information.
With the introduction in 2005 of articles 98 and 99, the IP Code finally protects:
a)     technical information related to procedures and products which are patentable or not[ii];
b)    trade information related to the implementation of commercial functions;
c)     administrative information[iii].
With respect to trade information, before the introduction of articles n. 98 and 99 of the IP Code, Courts stated that client lists and more general information as well as economic conditions applied to clients were treated as confidential information, even in cases when such data was accessible to only certain employees or known within the company[iv]. After articles n. 98 and 99 were introduced, Courts have abandoned the concept of per se confidential information, stating that client lists and more general trade information are granted protection only if the company has adopted secrecy measures aimed in protecting such data and that such information has an economic value.
In order to seek for the protection under article 98 of IP Code, all the following requirements have to be met:
a)     the information must be novel, meaning that it is not known or not easily accessible by operators of the same territorial and economic sector[v];
b)    the data must have an economic value, meaning that the company in possession of trade secrets is in an economically advantageous position with respect to its competitors which do not hold such data;
c)     the company must have adopted secrecy measures in order to protect such information from disclosure, meaning that it must have adopted specific measures in filing and classifying documents as well as in imparting rules to employees as to avoid disclosure.

Article 99 of IP Code
The other article contained in the IP Code governing the protection of trade secrets is art. 99, which states that:
“Notwithstanding the principles of unfair competition, the legitimate holder of the information and data referred to under Article 98, is entitled to prevent non authorized third parties, to acquire, use or disclose such information and data, except for the case in which they have been independently acquired”.
This article provides trade secrets’ holders with remedies that apply notwithstanding to the more general unfair competition discipline of article 2598, n. 3 of Civil Code, which applies only to the wrongful acts of competitors.

The relationship between know-how and trade secrets protected under article 98-99 of the IP Code.
Generally speaking, Italian Courts and Italian authors have defined know-how accordingly to the CE 04/772, CE 00/2659 and to CE 10/330, in which an explicit reference is made to such IP asset.
Here Know-how defined as “an asset of non-patented practical knowledge deriving from experience and evidence which is: (i) secret, or in other words not generally known or easily accessible, (ii) substantial, i.e. significant and useful for the production of contractual products, (iii) identified or described in a sufficient manner as to allow the compliance with the criteria of secrecy and substance”.
Consequently, know-how appears to overlap only partially with the definition of secret information under article 98 of the IP Code, as the only common requirement for the protection seems to be the economic value of the information. Indeed, such partial overlap derives from the different nature of the two assets where know-how is generally protected and determined in order to be licensed, while trade secrets are not meant to circulate among third parties. Therefore, in case of violation of know-how by third parties, Courts have generally applied the principles of unfair competition under article 2598, § 3, rather than articles 98 and 99 of IP Code.

The unfair competition rules contained in the Civil Code
Art. 2598 § 3 of the Italian civil code article states that “... anyone that uses directly or indirectly any mean which does not comply with the principles of fair professional conduct and which is capable of harming other companies performs acts of unfair competition”.
It must be noted that such rule is applicable only between competing entrepreneurs so that, for example, if a consultant steals a trade secret in the furtherance of a contractual relationship,  protection under such article could not be claimed.
The rule under art. 2598 § 3 protects information which is not per se confidential, but only in the presence of behavior that is deemed unfair and when the parties are competitors. This of course means that when the unfair act is carried out by the employee, the claimant cannot seek protection under this article unless the ultimate beneficiary is competitor. This occurs for example, when the employee steals trade secrets for the benefit of a competitor, unless defendant proves otherwise[vi].
More specifically Courts have also considered the theft of trade secrets through espionage as an unfair conduct[vii] as well as the appropriation of confidential information, illegally stolen, when the ultimate effect is the subtraction of commercial and industrial secrets that the company does not want to put in the hands of third party competitors[viii].
Also the theft of secrets through the hiring of a competitors’ employees constitutes an unfair competition act when the ultimate purpose is to obtain their technical knowledge in order to enter the market sooner than it would be possible on the basis of their studies and research[ix].
Again Courts have stated that the termination of an employment relationship does not prevent competitors from passing off actions for the misappropriation of trade secrets by the ex-employee when he continues to contact the competitor’s regular customers by offering the same products and omitting any communication regarding termination of employment[x].
We should also briefly mention that the misappropriation of trade secretes is recognized as an unfair completion conduct by art. 2105 n. 6 of the civil code which regulates the duty of loyalty of the employee that should refrain from any behavior that may affect the interests of the company while benefitting a competitor. Indeed, the employee has a legal obligation to secrecy for the entire duration of the employment relationship, which may be extended also after the termination by signing a non-competition agreement.

The protection granted by Criminal Law.
Apart from the rules stated in the IP and Civil Code an effective degree of protection can be found in the Criminal code under articles 621 and 623.
These articles censor the revelation of the contents of secret documents and of trade secrets with the possible punishment of imprisonment.
More specifically the Italian criminal code protects the content of secret documents and records, whether public or private against unpermitted disclosure with imprisonment up to three years or a fine. For the purposes of protecting new supports also computer devices containing data, information or programs fall within the definition of “documents”.
Protection is also granted in case a secret is revealed for the profit of third parties by reason of their status or office, or profession and without just cause with imprisonment or a fine.
The penalty is increased if the offense is committed by directors, general managers, managers responsible for preparing corporate accounting documents, auditors or liquidators, or if it is committed by those who carry out the audit of the company.
In light of the system described above, data and trade secrets holders can seek for an effective protection under Italian Law and can find an adequate response to their needs in the Courts rulings that continuously evolve in order to



[i] R.D. 29 of June 1939, n. 1127
[ii] According to the Court of Rome executive designs related to the construction of plants for the production of fibers are protected as secret information (Court of Rome decision of March 31, 2004 in Giurisprudenza Annotata di Diritto Industriale, 04, p. 997.
[iii] With respect to administrative information, Courts have stated that documentation related to the UNI, EN, ISO 9001 quality certification is protected as trade secret (Court of Mantova, 12th of July, 2002).
[iv] Court of Verona, May 4th, 1996; Court of Appeal of Florence, 24th April, 1976; Court of Milan, 24th May, 1973;
[v] Italian Courts have excluded protection for lack of novelty in cases of reverse engineering, Milan Court of Appeal, 25th of January 1972 and Court of Rome, 1st of July 1985.
[vi] Court of Appeal of Bologna, June 19, 1995.
[vii] Court of Modena, July 15, 1996.
[viii] Supreme Court, 1983 n.1413
[ix] Court of Orvieto, July 4, 1996.
[x] Court of Verona, April 30, 1996.

Are decisions rendered by the UIBM subject to Res Judicata?

Following the introduction of administrative oppositions in front of the UIBM in 2009, the Italian doctrine has discussed on the possible preclusive effect of decisions rendered by the Italian trademark office.

The decision rendered by the Case T-11/13 (MEGO / TEGO) at the end of September, confirms what we knew: the decisions of opposition and nullity trademarks in front of the OHIM (but the same goes for the UIBM) do not have the effect of res judicata. This means that if an opposition has been rejected, the same party can bring another action for invalidity for the same reasons and under the same earlier grounds on which the Office has already taken a decision.

Of course the same applies when an action is introduced in front of a specialized court for nullity, revocation or infringement, when the UIBM has already rendered a judgment for the same trademarks.

A not so kind… Kinder

The Italian Trademark Office recently rejected an opposition filed by Ferrero, owner of the  world know Kinder trademark against an individual who registered the trademark “Kind Milk” in class 29 (milk and it’s derivatives).

Ferrero immediately filed an opposition in front of the UIBM claiming risk of confusion with several registered trademarks owned by the Italian food company, namely “Kinder”, “Kinder Milkosa” and “Kinder Milk Snack Point” as these trademarks are registered in classes 30 and 29 claiming a likeliness of confusion under art. 12 of the Italian Intellectual Property code (CPI).

According to the trademark office the goods covered by the conflicting signs were considered to be identical solely on the basis of what is specified in their applications for registration in the "milk and milk products" and for goods in Class 30 (pastry, confectionery and ice cream) but an alleged similarities between the signs do not exist and there is no risk of confusion among consumers and that the opposition should be rejected totally. 

Consequently, the application for registration of the mark was upheld.

Creative Commons : Ideas Worth Spreading.

An inflexible copyright policy that prevents any type of disclosure could be anachronistic in the digital era. To realize the full potential of the Internet, encouraging a spreading creativity, many possibilities have been thought. Many of them have been just utopian, but one of these showed a revolutionary potential.

That’s the so called “Creative Commons”.

Launched in 2001 by Lawrence Lessig, Professor of Law at Harvard Law School and one of the leading experts of Copyright Law, this project achieved a large success and a wide application in the recent years.

Creative Commons licenses are not against copyright, instead they depend on the existence of copyright. These licenses are legal tools that creators and other rights holders can choose to offer certain usage rights to the public, while reserving some other rights.

Those who want to make their work available to the public for limited uses while preserving their copyright may want to consider using CC licenses. Others who want to reserve all of their rights under copyright law wouldn’t choose to use it. Creative Commons licenses offer creators a wide spectrum of choices between keeping all rights and renouncing all rights (public domain), an approach that we call "Some Rights Reserved."

Creators can choose among different protection regimes. While some of them refrain commercial uses or the sharing of adaptations, others grant just a minimum protection consisting in the paternity right.  The author doesn’t need any authorization or permission before licensing his work under CC, he just has to decide which conditions he wants to apply to his work. Accordingly, each work will be shared with a different disclaimer, an user friendly detailed tag.

Creative Commons is not an alternative to collecting societies, but a no-profit organization. Therefore all licenses can be use for free with any authorization requirements.

In Italy  Creative Commons could be perceived as an obstacle as it could be interpreted as incompatible with the authority granted by the Italian Copyright Law of 1942 to SIAE, the legal monopolistic society for the management of copyright in Italy.

The recent Directive 2014/26/EU states, however, the principle that rights holders should be able to freely choose to entrust the protection of their works to the collective management bodies they consider most appropriate, also to independent management entities, regardless of the state of nationality. The Directive also grants the authors the right to divide the protection of their works between different collecting societies.

The new standards should promote the coexistence of the CC licenses with the traditional collecting societies, to create a more flexible and efficient system of protection.

This system thought by Lessig affirms a belief in copyright, because it is in essence a copyright license, but it also affirms the innate value of those digital environments where the rules of exchange are not necessarily defined by economic criteria.