Fashion as Art? First Monday in May Movie

lunes, febrero 22, 2016



Speaking with Fabio Moretti, President of the Fashion Law Commission of UIA on its event next Friday!

miércoles, febrero 17, 2016




As you may know, UIA -Union Internationale des Advocats- is a multilingual and multicultural organizationand is the only major international lawyers’ organization to have adopted French, English and Spanish as its working languages.

The UIA's membership has extensive expertise in legal matters, which means the UIA can initiate high-level legal debates within its technical commissions and working groups, as well as adopts resolutions on current problems faced by the legal profession throughout the world.

To promote professional excellencethe UIA offers seminars, training sessions and other events throughout the year in several countries, which are also accredited for continuing education purposes.

Speaking with Fabio Moretti, president of UIA´s Fashion Law Commission, he told us that in 2013, they found a fashion law commission, with the purpose of studying and debating the complexity of the fashion industry and its relation with the law.

Since then, the commission has been holding several events and seminars related to fashion law.

Fabio is an attorney, with an MBA from CUOA. He has extensive experience in negotiating and drafting both national and international contracts, especially involving various aspects of intellectual property rights.

He is also a qualified professional mediator and president of Fashion Mediation Association (www.fashion-mediation.org), the first mediation center world-wide dedicated exclusively to fashion.

Later this week, will take place a Seminar in Venice -Italy- on February 19th, at the Venice Arbitration Chamber, and its main topic will be Corporate Transactions in the Fashion Industry.

The seminar is aimed to provide the audience with a deep view of the most interesting corporate operations in an extremely dynamic sector of business: fashion.

Speakers from different countries will discuss about the most relevant and specific questions of M&A transactions and of IPOs in the world of fashion from various legal points of view including IP, labour, tax and others.

You can access the full program in this link.


Fashion Law: Registro e Proteção na Moda | Rio de Janeiro - RJ | Barra da Tijuca

martes, febrero 16, 2016




O curso é dirigido não apenas a profissionais da Moda e advogados, mas a todos os profissionais e estudantes, em qualquer área do conhecimento, que tenham interesse no assunto.

O foco do curso é a proteção dos Direitos inerentes ao mundo da Moda, em especial a Propriedade Intelectual, incluindo as diferentes formas de registro, a criação de Marcas fortes sob o ponto de vista jurídico, Patentes, Desenhos Industriais e Direito Autoral.

Contratos de Licença de Uso de Marca e de Franquia, Direito de Imagem, Aproveitamento Parasitário, repressão à Concorrência Desleal, o Ato Olímpico e a Lei da Copa serão outros assuntos abordados. Além desses, temas atuais como moda autoral, fast fashion, slow fashion, a falsificação e a pirataria e os consequentes prejuízos para a indústria da moda também serão discutidos.

Todos os tópicos serão apresentados de forma dinâmica, por meio de slides ilustrados, de linguagem bastante acessível (evitando o “juridiquês”) e incluindo exemplos práticos e decisões administrativas e judiciais predominantemente relacionadas à área.

O curso “ Fashion Law: Registro e Proteção na Moda” foi estruturado pela advogada e professora de Propriedade Industrial do LLM Direito Corporativo do Ibmec, Deborah Portilho, e reúne mais três renomados advogados especialistas na área de Moda, Propriedade Intelectual, Direito Autoral e Contratos: André Mendes Espírito Santo, Sérgio Branco e Bruna Rego Lins e a especialista e mestre em Moda, Arte e Cultura, Paula Acioli.

PROGRAMA

Parte 1: Um percurso histórico sobre as Leis da Moda: de Luiz XIV ao “Fast Fashion” (Prof. Paula Acioli)

Parte 2: Os bastidores da criação do Fashion Law: como e por que ele surgiu. Como as criações da Moda são protegidas nos países e regiões onde a Moda é referência. A [falta de] proteção nos Estados Unidos e os esforços do Council of Fashion Designers of America (CFDA) para criar uma lei para proteção da Moda. A contextualização do Fashion Law no cenário mundial e brasileiro.


2ª Aula – 27/02 - Prof. Deborah Portilho
Parte 1: Introdução à Propriedade Intelectual: diferenciando conceitos. As Ideias e as Descobertas na Moda; as invenções patenteadas, as “wearable technologies” e as criações da indústria que são registradas como Desenho Industrial. Segredos de Negócio. Uso dos indicadores PI, MU, DI, ®, ™, MR, MD, SM e ©
Parte 2: Registro e Proteção de Marcas. Classificação das Marcas quanto à Natureza, Forma de Apresentação e Distintividade e Registrabilidade de Marcas. Como as Indústrias fazem uso do Direito Marcário para a proteção das criações da Moda: por dentro de todos os tipos de proteção - das marcas mais tradicionais ao trade dress, passando pelo brand sense.

3ª aula – 05/03 - Prof. Deborah Portilho
Parte 1: Requisitos de Registrabilidade e as principais Proibições de Registro previstas pela Lei da Propriedade Industrial (LPI)
Parte 2: A proteção dos nomes dos criadores (estilistas, designers) e das celebridades como marca; conflitos envolvendo nomes civis e patronímicos homônimos; estudo de casos de pessoas que ficaram impedidas de usar seu próprio nome ou sobrenome como marca.

4ª aula – 12/03 - Profs. Mariana Valverde, Michelle Hamuche e Cristiane Oliveira de Almeida
Parte 1: Contratos na Indústria da Moda: Licença de Uso de Marca, Cessão, Transferência de Tecnologia e Franquias, Direito de Imagem. Quando e por que averbar os contratos - (Profs. Mariana Valverde e Michelle Hamuche)
Parte 2: Direitos Autorais e da Personalidade; Direitos Autorais sobre as criações no mundo da moda: os direitos das empresas, dos estilistas e dos designers - (Prof. Cristiane Oliveira de Almeida)

5ª Aula – 19/03 - Prof. Deborah Portilho
Parte 1: As Limitações do Titular quanto ao uso de sua marca em propagandas e paródias vis-à-vis a liberdade de expressão. Crimes contra Registro de Marca na Indústria da Moda: Diferenciando a Falsificação, da Pirataria e das Réplicas; Diferenciando o uso indevido da apropriação indevida; Diferenciando a Concorrência Desleal da Concorrência Parasitária e do Aproveitamento Parasitário: a importância da correta fundamentação. Marketing de Emboscada e Olimpíadas
Parte 2: Apresentação de Trabalho em Grupo

Luxury Brands Can No Longer Ignore Sustainability (HBR)

sábado, febrero 13, 2016



If I asked you to picture the consumer luxury market, you might imagine jewels, sports cars, watches, premium drinks, high-end shoes and apparel, and so on. A combination of high quality, glamour, celebrity, and attitude. With a few exceptions, it’s been an industry not traditionally associated with concerns about environmental impacts, human rights, and wellness, even while those trends have been sweeping through the mainstream consumer products sector. But according to a new report, 2016 Predictions for the Luxury Industry: Sustainability and Innovation, that sustainability gap is closing fast.
Two organizations that work closely with high-end product companies, the Luxury Institute and Positive Luxury, produced the study (disclosure: I’m on the latter’s informal advisory board, but I had no involvement in the research). Diana Verde Nieto, the founder of Positive Luxury and main author of the study, makes a compelling case that sustainability and social responsibility are no longer nice-to-have for luxury brands — they are now requirements.
The report lays out a few key pressures.
First, the direct pressure: the laws are changing. The report points to the passage of the Modern Slavery Act in the U.K. in 2015, which requires larger companies doing business in Britain to publish a board-approved, public annual slavery and human trafficking statement. This kind of law clearly drives much more transparency and tracking up the supply chain. And it’s a good thing, as 71% of U.K. retailers and suppliers think it’s likely there are slaves in their supply chain.
Second, the indirect and more powerful pressure: social norms are changing, starting with high-profile tastemakers. Celebrities are more invested than ever in sustainability. Leonardo DiCaprio and Mark Ruffalo have produced movies and started organizations to tackle climate change and promote renewable energy. Harry Potter star Emma Watson is a vocal advocate on gender equality while also appearing regularly in fashion magazines. These names and others are lending their clout to the social and environmental agenda. Given their prominence in the fashion and luxury worlds, their beliefs, statements, and demands on companies matter.
On a larger scale, the expectations of companies are changing generationally — Millennials have different views on how companies should act. The report cites research showing that “88% of UK and US Millennials and Generation Xers believe brands need to do more good, not just ‘less bad.’” This generation is questioning consumption in general – a majority say they are spending more on experiences (meaning, less emphasis on stuff), which is a threat to the luxury world. And they are driving a “clean label” trend, where companies feel pressure to explain what’s in everything and where it came from.
Third, the report highlights the fact that the investment community is waking up to the value to consumer brands of managing environmental and social issues well. There are some early shoots of evidence to back this idea up: in 2015, a Morgan Stanley analyst raised the price target on some mainstream apparel players like Nike based on their sustainability performance. The report sees this pressure coming to luxury companies soon.
Finally, there’s the harsh reality of biophysical limits seriously compromising these companies’ ability to source their products. Luxury goods require digging up, growing, and processing materials throughout the value chain, and that’s all getting tougher. According to Verde Nieto, these are not just ethereal brand risks about labor or image, but actual business continuity risks. Climate change is changing water availability and crop production around the world. That affects cotton-based products and, as Verde Nieto says, cashmere and angora, for example, require a great deal of water to process.
For gems and minerals, Verde Nieto sees a range of challenges from the energy required in production to general availability. With slight hyperbole, she says, “we’re out of gold basically (almost all the gold we use is recycled), various substances and ingredients in skin care are threatening the environment, diamonds are scarce, and exotic skins are in trouble…basically — and this is the big ‘a-ha’ — some of the raw materials, crucial to the luxury industry, are under threat.”
The leading companies in this space have been acting on many of these pressures for years. Both Tiffany and Forevermark, a Debeers company, have certified their diamonds using the independent Kimberley Process as “conflict free.” L’Oreal has quietly been making itself one of the global leaders on climate change and renewable energy. The company has already cut greenhouse gases by 50% and has new targets to be carbon neutral (without buying renewable energy credits) by 2020.
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Convocatoria: Wanted Design NYC

viernes, febrero 12, 2016



El Ministerio de Relaciones Exteriores y Culto y la Fundación Exportar convocan a diseñadores argentinos a participar en la feria “WANTED DESIGN”, que se llevará a cabo en la ciudad de Nueva York, Estados Unidos, del 13 al 16 de mayo de 2016.

Wanted Design (www.wanteddesignnyc.com) muestra las principales tendencias e innovaciones a nivel internacional en el área de diseño de objetos, productos y mobiliario. El evento recibe la visita de más de 11.000 profesionales de Estados Unidos, Canadá, Europa y América Latina, entre los cuales se destacan compradores minoristas y corporativos, arquitectos, representantes de showrooms, diseñadores de interiores y profesionales del sector diseño y accesorios (diseño de autor), y prensa internacional.

La participación en este evento de negocios permitirá que tu empresa entre en contacto en forma directa con contrapartes potencialmente interesadas en sus productos, posibilitando su ingreso y/o ventas en este mercado.

En esta edición, Argentina contará con un stand de 50m2 a disposición de las empresas que deseen exhibir productos correspondientes a los siguientes rubros: mobiliarios de diseño; objetos de diseño contemporáneo; accesorios y complementos de decoración para el hogar; confecciones textiles; diseño de iluminación; eco-diseño y producciones con materiales reciclados.

PROCEDIMIENTO DE PRE-INSCRIPCIÓN
2- Remitir un portfolio digital en idioma inglés (máximo 5 MB) a los correos electrónicos que figuran al final de este documento, que contenga la siguiente información:
  • Nombre de la marca/diseñador, información de contacto y sitio web (debe estar en inglés yactualizado con material de prensa y últimas colecciones).
  • Breve perfil de la marca: público objetivo, locales minoristas y/o puntos de venta, experiencia exportadora y antecedentes comerciales.
  • Biografía del diseñador.
  • Selección de imágenes de los productos a exhibir.
  • Clipping de Prensa.
  • Lista de precios FOB y CIF.
  • Requisitos comerciales: preferentemente se requiere a las empresas estar en condiciones de proveer información vinculada a la producción, precios y logística de venta/shipping a los EE.UU. a potenciales clientes. 
  • Productos: en el caso de prototipos ("concepts"), deben estar listos para la producción y su posterior venta en el mercado estadounidense. Mismo requisito de venta aplica para los productos que ya se encuentran en producción.
  • Material de difusión: disponer de material de prensa de sus productos y/o proyectos, en alta definición, para entregar a potenciales clientes. 
  • Presencia y acciones tanto en eventos nacionales como internacionales.
  • Podrá agregar cualquier información extra que crea de utilidad para armado del portfolio.
El proceso de selección de los diseñadores/empresas participantes será llevado a cabo por un Comité Curador de Wanted Design. 
Fecha límite de inscripción y remisión de los portfolios: 22 de febrero de 2016.

Costo de participación 
El Ministerio de Relaciones Exteriores y Culto y la Fundación Exportar han implementado un nuevo sistema de categorización de empresas según su tamaño, conforme a lo establecido en la Resolución Sepyme 21/2010, 50/2013 y sus modificatorias. A partir de un enfoque integrador se garantiza la igualdad de oportunidades y participación en las ferias internacionales de todas las empresas argentinas interesadas –sean micro, pequeñas, medianas o grandes-, favoreciendo su inserción estratégica en el mercado internacional. 

Microempresas: $ 2.000.-
Empresas Pequeñas: $ 4.000.-
Empresas Medianas: $ 35.785.-
Empresas Grandes, Provincias, Importadores Locales, Traders e intermediarios: $ 62.623.-


Can China End the Illicit ‘Daigou’ Trade? (BOF)

domingo, febrero 07, 2016

Chinese shopper | Source: Reuters

BEIJING, China — Gao, who only wishes to give her family name, has good reason to be discreet. When she tried to shop at a prominent online luxury retailer based in the UK, she ran into an unexpected burden that prompted her to use an illicit trade instead.
“I ordered two products,” she tells BoF, from Beijing, where she lives. “But when DHL received the parcels last week, they called me up to say that the parcel could not pass through China’s customs. I had to return my order and get a daigou to do it for me instead, [because] the daigou would deliver the parcel to me and not report the value inside.”
Due to hefty import tariffs and consumption taxes, as well as higher pricing strategies, prices for luxury goods can be 20 to 30 percent higher in China when compared to abroad. The disparity has given rise to daigou, a grey market trade where shopping agents purchase goods overseas and sell them back to customers in China, typically making a profit and saving the customer money at the same time, by avoiding import duties.
But after years of watching the illegal trade grow, the Chinese government has recently stepped in to tackle it by lowering import tariffs and tightening customs controls. Unfortunately, what Gao’s experience highlights is that some of these new measures have inadvertently created barriers for Chinese consumers who want to use legitimate channels to buy online. “It’s ridiculous,” she says, describing how the frustration and confusion left her feeling “forced to use daigou.”
“Either I cannot buy more than one item at a time…or the total value cannot be more than 1,000 RMB (about $152). If the goods are less than 1,000 RMB, you pay the tax, but if they’re more than 1,000 RMB, your parcel will be returned. [So I have to either] order them separately and pay [double] DHL overseas shipping fees, or use a daigou," she continues.
Authorities have been tightening the inspection of imported goods to combat ‘bi shui,’ a buzzword in anti-graft era China. “It means tax avoidance or tax evasion, it has a bad connotation,” explains Alice Wong, president of ImagineX Group, a management and distribution group in China that represents luxury brands including Marc Jacobs and Salvatore Ferragamo.
As a result, cross-border commerce has been problematic for Chinese mainlanders. David Zhao, founder and chief executive of e-tailer Shangpin, which offers brands such as Chloé, Topshop and Lanvin in China, says that since September, many people have reported trouble at customs. “I’ve seen people losing their parcels for no reason.”
In addition, legislation announced in August 2014 by the country’s General Administration of Customs declared that travellers must pay extra customs duty for any “personal use” products that are worth more than 5,000 RMB (about $760) — which is how daigou goods are typically labelled.
“Many consumers are aware that the practice [of daigou] is synonymous with ‘bi shui,’ but they take the risk anyway because they can get products cheaper,” says Wong. “With these new regulations in place, many daigou agents won’t be able to remain competitive and this will benefit proper cross-border channels.”


TOO-THIN MODEL LAW

jueves, febrero 04, 2016


fashion-week

TOO-THIN MODEL LAW

We’ve all heard that French women don’t get fat. Paris runways are notorious for displaying scandalously skinny models strutting haute couture. But will this be the case for Paris Fashion Week Spring 2016?
Just last month, French parliament passed a bill requiring fashion models to prove they are healthy. From now on, models hoping to work in France will need a doctor’s note verifying their BMI is at appropriate levels, as well as confirming overall health. Violations of the law can result in up to $80,000 fine and even jail time. The bill also requires that digitally altered images will be labeled “retouched” or risk a hefty fine.1 France was not the pioneer on this issue, joining Italy, Israel, and Spain. Denmark also stepped into the skinny model debate, introducing its Danish Fashion Ethical Charter in 2007. Since then, the Charter has been thoroughly updated. Unlike France, Denmark’s Charter is non-binding and instead of using fines and incarceration, uses peer pressure: if a company wants to participate in any aspect of the Denmark fashion community, they must sign on.2
These enactments are “an attempt to curb the idealization of the dangerously thin,” says Time Magazine.3 These efforts follow the deaths of notable fashion models including Brazilian model Ana Carolina Reston and French model Isabel Caro, both of whom died from anorexia. There is a line between a thin girl and a sick one and too often that line is crossed. The French law accounts for the fact that thinness does not always connote illness. The doctors must take into account the individual’s weight, age and body shape to determine wellbeing.4 As expected, reactions from industry insiders range.5 Members of the fashion community were not consulted prior to the drafting of the legislation. There are many concerns that this law will have no effect on the industry because “[an agency] can always say that the model was 10 pounds heavier when she was booked.”6 As for the retouched photographs, some fashion photographers believe this will negatively affect their artistic vision.7
Only time will tell how this law may affect the industry, both in France and abroad. However, the United States may not necessarily follow suit. The Council of Fashion Designers of America works to educate members in the business about nutrition and warning signs for eating disorders. Each season, the CFDA sends out a set of health guidelines to members of the industry. The organizations’s president, Steven Kolb, has said that it has no intention of pushing for legislation, preferring instead to educate and create awareness.8

La copia en la industria de la Moda (Bracey Wilson, Universidad Mayor, Chile)

miércoles, febrero 03, 2016



Con motivo del Tercer Seminario de Derecho de la Moda, que tuvo lugar en la Universidad Mayor, en Santiago de Chile, de la cual tuvimos el honor de participar, el economista y especialista en branding y marketing, Bracey Wilson, abordó la problemática de la copia en la industria de la moda.

Bracey es director del Master en Dirección de Marketing de la Facultad de Economía y Empresa de la Universidad Diego Portales.
Ha desarrollado gran parte de su carrera en el área de branding y marketing en países como Brasil, Argentina, México y Estados Unidos (New York) trabajando en empresas multinacionales, como director comercial para América Latina de Yves Saint Laurent y Revlon.
Actualmente, desarrolla su actividad profesional en Divan Brand Agency.





Resetting China’s Luxury Compass

lunes, febrero 01, 2016





HONG KONG, China — Alarm bells have been ringing for quite some time. That an overreliance on China might one day prove problematic was clear the moment that the country became the world’s largest luxury market. But few could have predicted the series of events that now has the luxury industry plotting a new course toward China, while searching for safer passage through the choppy waters of this heaving market.
The storm hit in 2014 when luxury spending contracted for the very first time in mainland China. As the economy began to slow, brands like Louis Vuitton quietly shuttered stores and analysts predicted that Prada, Burberry and other brands faced jeopardy in Hong Kong as mainland shopper numbers dwindled. Exacerbated by China’s ‘Black Monday’ stock market crash — an event last summer that wiped trillions of dollars off global financial markets — these already worrying signs were soon followed by a slump in luxury stocks. Investors got spooked and the collective mood took a turn for the worse.
In August, the Savigny Luxury Index, an index compiling the stock price of major luxury groups including LVMH, Kering, Richemont and Hermès, recorded its worst monthly drop since the global banking crisis in 2008. More trouble was yet to come. Volatility shook the industry hard this month when the Chinese government twice froze the Shanghai stock market in order to prevent panic selling of stocks that were in free-fall. Now, it has come to light that 2015 was the year that China's economy grew at its slowest rate in 25 years.
While the anxiety caused by these events remains as strong as ever, most experts agree that China’s luxury market still has both short and long-term potential. China certainly hasn't gone from vogue to rogue, but no one is certain how much more stress the market can take. With so much instability in the air, just how concerned should the luxury industry be about China’s ‘new normal’ and how can they point the compass toward growth during an economic slowdown?
BoF and fashion industry leaders explore the future of the Chinese market at BoF VOICES x Hong Kong event in December 2015.

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