聚焦倫敦時裝周：設計在英國/歐盟的保護問題

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來源：IPRdaily中文網(wǎng)（iprdaily.cn）

供稿：麥仕奇知識產權

原標題：聚焦倫敦時裝周

2021年9月倫敦時裝周開啟的時裝月，也是英國脫歐和新冠疫情后的第一個世界時裝月。但英國脫歐后導致的知識產權法的變化，將使設計師在之后應對市場受本月時裝秀“啟發(fā)”而產生的時裝抄襲行為時比之以往有更多的不確定性。理論上，在倫敦時裝周上首先發(fā)表的設計可能在歐盟得不到保護，而在米蘭先發(fā)表的設計則在英國得不到保護。

聚焦倫敦時裝周：設計在英國/歐盟的保護問題

Spotlight on London Fashion Week

2021年9月已然是時尚日歷上的一個重要里程碑。這既是9月16日倫敦時裝周開啟的時裝月，也是英國脫歐和新冠疫情后的第一個世界時裝月。大環(huán)境的變化也許會激發(fā)新的時尚創(chuàng)意和風格，但英國脫歐后導致的知識產權法的變化，將使設計師在之后應對市場受本月時裝秀“啟發(fā)”而產生的時裝抄襲行為時比之以往有更多的不確定性。

September 2021 is already an important milestone in the fashion calendar. Not only is it the start of fashion month (beginning with London Fashion Week) on 16 September but it is also the first instance of fashion month being run in a post-Brexit environment as well as in a post-Covid world. While this may spark new creative ideas and styles, changes to IP law post-Brexit mean there is more uncertainty than usual as to how designers can address copycat activity in the market inspired by this month’s high profile shows.

中國設計師王予涵在倫敦時裝周發(fā)布的作品之一，圖片來源https://londonfashionweek.co.uk/designers/yuhan-wang

一些大眾服裝品牌被指控抄襲設計師品牌并不是什么新鮮事，例如Zara、Mango 和 Fashion Nova 等快時尚品牌都曾收到抄襲指控，說這些品牌抄襲了設計師品牌在T臺上首次披露的設計樣式。在數(shù)字時代，我們的確比以往任何時候都更了解此類設計抄襲行為，獨立設計師、時尚監(jiān)管機構甚至專門的博主和社交媒體帳戶（例如 Diet Prada）在關注及追蹤設計抄襲方面也更加直言不諱、引人注目。

Allegations of copying from designers against high street brands are nothing new. There are many examples of fast-fashion brands such as Zara, Mango and Fashion Nova receiving allegations of copying designs first showcased on the catwalk by designer brands. It’s also true that in the digital world we are more aware of this activity than ever before and independent designers, fashion watchdogs and even dedicated bloggers and social media accounts such as Diet Prada are becoming more vocal and visible in highlighting this.

在法律上預防抄襲并不總是那么容易。尤其是，雖然設計師可以通過“注冊”來保護其設計，但通常很難界定未注冊的外觀設計以及版權的保護范圍。受英國脫歐的影響，情況變得更加復雜。雖然英國在脫歐時創(chuàng)立了本地版的“未注冊外觀設計”（權利名稱為“補充設計權”）以取代之前的歐盟權利，但英國和歐盟均要求授予保護的前提是該設計必須是在當?shù)兀ㄓ驓W盟）首次公開。因此，理論上，在倫敦時裝周上首先發(fā)表的設計可能在歐盟得不到保護，而在米蘭先發(fā)表的設計則在英國得不到保護。

Legally spanventing copying is not always easy. In particular, while designers can obtain “registered” design protection for their designs it is often hard to determine the scope of protection provided by unregistered design right and copyright. However, the impact of Brexit has made things more complicated. This is because while the UK created an equivalent “unregistered design right” at the point of Brexit (called “Supplementary Design Right”) to replace an equivalent EU right, the requirement for UK and EU forms of protection is that the design has to be first published in the UK or EU respectively.  So, in theory, it’s possible that a design first published at London Fashion Week might not enjoy protection in the EU and that a design first published in Milan might not enjoy corresponding protection in the UK.

這看起來令人吃驚。目前尚不清楚在英國、歐盟同時公開發(fā)表設計作品能否滿足兩地的各自要求從而在兩地都產生可受保護的權利，例如通過在線流媒體公開設計作品使兩地公眾都能看到作品（本次倫敦時裝周將上演眾多“數(shù)字”式的時裝秀，因此這將是一個現(xiàn)實命題）。目前也尚無影響力大的法律判決就首次發(fā)表的具體要求及同時在線發(fā)表能否滿足首次發(fā)表的要求等問題提供明確解答。設計師面臨的關鍵難題仍然是，在英國首次發(fā)表設計作品可能會導致喪失該設計在歐盟的新穎性，反之亦然。鑒于設計師可能無法憑借設計的后續(xù)公開從而獲得在另一地的權利，因此有必要慎重考慮選擇在哪兒首次披露他們的新設計，例如要不要在作品產出最多的市場上。

This seems surprising and it is unclear if simultaneous publication in both locations would meet the corresponding requirements, for example through streaming online so viewers in both territories could view the designs would enable rights to be created (in practice this will be happening since there are a number of “digital” shows taking place in the London Fashion Week programme). However, there has been no leading legal ruling confirming the requirements for first publication and whether simultaneous online publication would be enough. Furthermore, a key issue for designers to consider is that first publication in the UK could eliminate the novelty of their design in the EU and vice versa. Designers may therefore be unable to rely on disclosure at subsequent events and will need to have carefully considered where they choose to disclose their new designs for the first time, for example perhaps in their most prolific market.

設計在某些情況下也可以獲得其他類型的保護。但這一點（指設計的新穎性在英國/歐盟框架下怎么確定）對于設計師仍然十分重要，以使設計師能利用所有法律手段來保護原創(chuàng)設計的創(chuàng)意及獨特性。大家可關注與時裝月有關的后續(xù)法律案件中英國和歐盟法院對這一重要問題的詮釋，更重要的是看歐盟和英國法院對于各自區(qū)域性權利的詮釋是否一致。在此之前，設計師應尋求將其設計作品進行注冊以獲得保護，以最大程度地減少不確定，這點比以往任何時候都更具有價值，不應僅僅依賴于未注冊外觀設計的保護。另外，在一切尚不明晰的階段，設計師可以整理相關證據(jù)以保障將來可能的權利主張，例如首次發(fā)表日、發(fā)表方式、參展及觀看發(fā)布會的人員（可能既有英國觀眾也有歐盟觀眾）等等資料。這些證據(jù)對之后打擊抄襲的維權行動也許至關重要。

As such and while other forms of protection do exist in some cases, certainty on this point is much needed for designers so they have all the legal tools possible to safeguard the creativity and uniqueness of their ground-breaking designs. It will be interesting to see if clarification will be provided by the courts on this important issue through any legal actions taken arising from this month’s shows in the UK and EU. More importantly, it will be fascinating to see if there is much needed consistency shown between EU and UK interspantation of the respective rights in each territory. Until clarification is given there is more value than ever before in designers seeking registered rather than just unregistered design protection to minimise the uncertainty. As an additional measure, designers could also look to ensure, during this time of uncertainty, that they collate a portfolio of evidence to substantiate their rights such as dates and methods of first publication as well as records of those attending or viewing their launch events, which could potentially span both UK and EU audiences. Evidence of this nature could be essential for future enforcement against copycat activity.

來源：IPRdaily中文網(wǎng)（iprdaily.cn）

供稿：麥仕奇知識產權

編輯：IPRdaily王穎          校對：IPRdaily縱橫君

注：原文鏈接：聚焦倫敦時裝周：設計在英國/歐盟的保護問題（點擊標題查看原文）

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