Monday, 30 August 2010

Grupo Promo v PepsiCo: a case note

Those readers of Class 99 who subscribe to the European Intellectual Property Review (EIPR) will be pleased to note that it contains a contribution from Class 99 team member, lawyer and scholar Henning Hartwig entitled "The General Court's First Decision on a Community Design's Validity--All's Well That Ends Well? Grupo Promer v OHIM and PepsiCo (T-9/07)". Otherwise known as the "metal rappers" case, this decision was analysed here on Class 99 by David Musker.

Right: here's something to cheer PepsiCo up -- some of its own prior art ...

According to Henning Hartwig, the court has adopted a "fluctuating, non-static scope of protection of the prior Community design": he speculates as to whether national courts will follow in the General Court's path.

Monday, 23 August 2010

Reopening abandoned design files in Israel

The most recent design patents newsletter of Israeli IP firm Shilon Zuckerstein & Co mentions a 29 June 2010 decision of administrative Israeli Patent Authority (IPA) judge Yaara Shoshani, which states that the IPA is continuing to refuse to reopen abandoned design applications. This is apparently the latest of a number of rulings which the IPA has declined to reopen abandoned design applications and registrations on the basis that to do so would cause damage to third parties who have acted in reliance on the abandonment. This note does not clarify the precise basis upon which a design patent applicant or registrant might expect an abandoned application or registration to be opened and it rather looks as though the resuscitation of closed files might be available at the IPA's discretion. Does anyone have information about this?

Source: "Israeli Patent Authority continues to refuse opening of abandoned design applications", here

Wednesday, 18 August 2010

Community Design Registration Certificates

OHIM have until now sent Community Design Registration Certificates by post.  However, they have recently started adding a link to the RCD-Online database to allow the certificates to be downloaded.  It is unclear how far back certificates are available - they aren't backloaded before 2010, it seems.  Here is a link to the OHIM note on the subject in the July Alicante News, where it is described as a future development although it had apparently already been operational in June. 
The OHIM website will now contain three versions of a design - that in the database, that in the Bulletin, and that in the certificate - which will not necessarily be in accordance with each other.  The Bulletin version will be exactly as-published, warts and all; the certificate (if corrected) should show the design as it should have been published, and the database should be updated to include any subsequent changes (e.g. assignments).
According to OHIM, "The new e-certificates have the same legal value ... as the existing paper certificates ...". It is far from clear what value that is, since anyone can download and print a copy, and edit it beforehand if so desired. As certificates go, this one is remarkably uncertified. 

Tuesday, 17 August 2010

Further details about the face-lifted Star …

As recently reported, the German Federal Supreme Court had decided that the stretch-version of Daimler’s famous S Class manufactured by a non-authorized German car tuner would amount to infringing Daimler’s registered Community design of the very same stretched version of the S Class (W 221).

It is also worth taking a minute to look into the decision of the lower instance heard at the Stuttgart Appeal Court. As the defendant introduced prior art by way of Daimler’s registered Community design of the stretched version of the predecessor S Class version (W 220), the Court tested validity of the design-in-suit against W 220 but found the overall impression of this version to be “clearly different”. In this respect, the Appeal Court said, one must take into consideration that due to “market interests”, the claimant’s “possibilities in developing the asserted design” were limited. The court reached this conclusion as it considered that on the one hand, people would expect the new W 221 type to stand for a “modernization of the form of appearance” but, on the other hand, the “characteristic appearance would be “preserved (as usual in case of branded cars)”.

Can commercial interests and consumer expectations be eligible limits to the freedom of the designer in developing his design under Article 6 (2) CDR? Unfortunately, the German Supreme Court does not provide an answer to this question since the defendant, much to our surprise, refrained from asserting that particular piece of prior art in the appeal proceedings. What a missed opportunity …

Friday, 13 August 2010

Will design protection ever be in fashion in the US?

In "Why Imitation Is the Sincerest Form of Fashion", Kal Raustiala [yes, it is an anagram of 'Australia'] and Christopher Sprigman, writing online yesterday for the New York Times, take issue with Senate Bill S.3728 (the Innovative Design Protection and Piracy Prevention Act) which proposes, among other things, "to amend title 17, United States Code [that's the US copyright legislation], to extend protection to fashion design".

The Bill is short and, without the benefit of other legislation to provide its context, largely unintelligible since it consists principally of amendments to existing law. Messrs Raustiala and Sprigman don't like it. They say:
"... New York’s senior senator, Charles E. Schumer ... introduced legislation that would rewrite copyright law to cover their designs. But his bill could hurt the fashion industry more than it would help, and raise consumer prices along the way.

It strikes many people as strange that fashion designs are not already protected against copying. ...

But there is a good reason that fashion designs have never been protected by copyright. Some designers have lost sales to knockoffs, but the copying of designs has not been a serious threat to the survival of the industry. To the contrary, much of the growth and creativity in the industry depends on imitation.

Why is that? Because of something we all know instinctively about fashion. As Shakespeare put it, “The fashion wears out more apparel than the man.” That is, many people buy new clothes not because they need them, but only to keep up with the latest style.
Right: Fashion in Shakespeare's time -- more real than apparel ...?

Without copyright restrictions, designers are free to rework a design and jump on board what they hope will be a money-making style. The result is the industry’s most sacred concept: the trend. Copying creates trends, and trends are what sell fashion. Every season we see designers “take inspiration” from others. Trends catch on, become overexposed and die. Then new designs take their place.

This cycle is familiar. But what is rarely recognized is that the cycle is accelerated by the freedom to copy.

Mr. Schumer’s proposal ... takes a very narrow, and therefore less onerous, approach. It would protect only “unique” designs — those that are truly new and distinguishable. And only “substantially identical” copies would be illegal.

Some designers, believing that every clothing design is a reworking of something we’ve seen before, question whether the proposed law would matter. Indeed, if the legislation were applied exactly as it’s written, with its stringent standard of uniqueness, it would matter very rarely.

But the greater risk is that once it’s in the hands of lawyers and judges, such a law would expand in a way that harms many designers and consumers. Plaintiffs’ lawyers would make creative arguments, and judges would tend to interpret the bill’s language expansively. This has been the pattern in copyright for decades. Indeed, lawyers (and those designers who could afford them) would be among the biggest beneficiaries, as disputes would likely erupt into expensive, time-consuming lawsuits featuring designers squabbling over ownership of allegedly unique styles.

In any case, a legal mechanism already exists to protect a truly novel design: a patent. But instead of a specialized federal agency determining what is novel, Senator Schumer’s bill would require that the novelty be assessed by a judge, whose sole experience with fashion might consist of a semi-annual trip to a department store.

To make matters worse, the bill would allow plaintiffs to pursue the wealthiest manufacturers and sellers of fashion. Retailers, for example, could be held liable for any copies they sold. Unlike earlier proposals, Mr. Schumer’s bill contains no requirement that copyrighted designs be registered so that retailers and other designers are put on notice.

While many designers have suffered financial losses in the recession, the American fashion industry as a whole has enjoyed steady growth since World War II. Today, apparel businesses in the United States take in more than $300 billion a year and employ millions of people.

There’s no doubt that some designers suffer losses from copying. But Mr. Schumer’s bill is a cure that would be worse than the illness. With copyright protection fashion prices would rise, and the creative cycle would slow down. ...".
Class 99 is struggling to comprehend how the fashion industry in Europe has ever managed to survive at all, let alone develop, with all those meddlesome, inconvenient, unnecessary and, well, unfashionable laws to protect clothing designs. Can any reader offer some enlightened comment on the subject?

Wednesday, 11 August 2010

Designs in China: Tian Lipu speaks

An item in the most recent OAMI News, "Industrial design “key element” for China", reports that Commissioner Tian Lipu (head of the Chinese State Intellectual Property Office) has spoken of the importance of industrial design in his country’s IP strategy. In this video interview he said that China was putting increasing emphasis on innovation and creativity as it attempted to move from being considered simply as a manufacturing location to a more design-oriented approach.

Opinions regarding China are clearly divided at the moment. Those who put a positive spin on things are emphasising the steps the country is taking to make all IP enforcement a more viable and sometimes even attractive proposition for foreign businesses investing there. Others will be more cynical: while accepting that China recognises the importance of industrial design, they'd like that recognition to take the form of not seeking to register or manufacture non-Chinese designs.

Monday, 9 August 2010

Latest ECDR favours designs

Issue 4 for 2010 of Sweet & Maxwell's European Copyright and Design Reports (ECDR), which has recently been published, is a bit of a design special. Cases reported in this issue include Beifa v OHIM, Schwan-Stabilo (noted by Class 99 here), Crocs Inc v Holey Soles, Partenaire Hospitalier (noted by Class 99 here), and the OHIM Third Board of Appeal decision in Unistraw Asset Holding v Felfoldi Edesseggyarto.

Class 99 thinks it's definitely a sign of good times ahead for the design sector when three out of the four cases in this traditionally copyright-biased publication are drawn from design law instead.

Friday, 6 August 2010

Burberry keeps HK competitors in check

The attention of Class 99 has been drawn to a registered design revocation application (here) concerning the Burberry Check in Hong Kong, decided last month by the Hong Kong Special Administrative Region's Court of First Instance. In legal terms there's not a lot exciting about the decision, in which Burberry Asia secures the revocation of three designs for lack of novelty in just 25 short paragraphs.

What's interesting is that the proprietor of the revoked design, Polo Santa Roberta, which started out a few years ago as a rather downmarket sort of shop in Hong Kong (see IP Dragon here). Nevertheless, it has stepped up its image and held itself out as a reputable UK brand by advertisement (its advertisements have been sighted in Marie Claire Hong Kong) and it has now opened new specialty shops in the territory. Their bags, I am told, can be spotted in use almost everywhere there.

Thanks are due to Sarah Li for supplying this information.

Thursday, 5 August 2010

Dyson v Vax: full judgment now available

The judgment of Mr Justice Arnold in Dyson Ltd v Vax Ltd [2010] EWHC 1923 (Pat), discussed here earlier this week on Class 99, has now been made available on the BAILII database. You can read the 95-paragraph judgment and view the appended design illustrations here.

Right: Vax's Mach Zen vacuum cleaner -- definitely not a Dyson ...

Tuesday, 3 August 2010

Dyson doesn't clean up after all

Dyson Ltd v Vax Ltd [2010] EWHC 1923 (Pat), a Patents Court for England and Wales decision of Mr Justice Arnold last Friday, 29 July, is not yet available on BAILII. It was however noted by a very useful LexisNexis alert. It's another major piece of IP analysis in Mr Justice Arnold's tour of key areas of IP but, for a change, has not resulted in the reference of a batch of questions for preliminary ruling by the Court of Appeal of the European Union.

Right: now here's a dust-removal device that looks as if it's safe from Dyson's design registration

Dyson originated the two-stage cyclone dust-separation technology for vacuum cleaners, this being an alternative to the use of porous bags. In December 1994 Dyson applied for a UK registered design under the old Registered Designs Act 1949. This design, for a 'vacuum cleaner', contained the following statement of novelty under rule 15(1) of the then-current Registered Designs Rules 1989, SI 1989/1105:
"The features of the design for which novelty is claimed reside in the shape and configuration applied to the article...".
This application pre-dated Design Directive 98/71, which provided:
"A design right shall not subsist in features of appearance of a product which are solely dictated by its technical function...".
The Directive was incorporated into domestic law by amending the 1949 Act via the Registered Designs Regulations 2001, SI 2001/3949. Provisions corresponding to those contained in the Directive were also found in the Community Design Regulation 6/2002.

After Vax, which imported and sold vacuum cleaners, launched a multi-stage cyclone vacuum cleaner in 2009, Dyson sued for registered design infringement. Said Dyson, Vax's product was similar to its registered design, which differed from the existing design corpus in various ways. In particular (i) its inclined bin was substantially halfway between horizontal and vertical; (ii) its bin was transparent, showing the cyclone shroud and (iii) its lower bin support formed from a sweeping, curved forward extension of the wheel arches. Vax said its product was different to the design, especially when looking at the rear of its machine, the hose connector position and the front wheels.

It was accepted by both sides that, according to the transitional provisions in the 2001 Regulations, infringement had to be determined by reference to the post-implementation Act; this Act in turn had to be construed as far as possible in conformity with the Directive. Accordingly, while it was proper to consider both similarities and differences between the respective machines, what mattered was the overall impression produced on the informed user by each design, having regard to the design corpus and the degree of freedom of the designer. The informed user was taken to be a knowledgeable user of domestic vacuum cleaners.

Before dealing with the substantive claim,numerous preliminary issues had to be dealt with. These included (i) the correct interpretation of Article 8(1) of the Regulation, and therefore Article 7(1) of the Directive; (ii) the degree of freedom of the designer; (iii) the date as at which the overall impressions were to be compared; (iv) proceeding on the basis that the statement of novelty was to be taken into account, despite the fact that there was no provisions for such a statement in the post-implementation 1949 Act, the effect of that statement in the instant case; and (v) whether, as the claimant contended, the relevant existing design corpus consisted of cylinder vacuum cleaners or whether, as the defendant contended, there was no existing design corpus at all in December 1994. It was common ground that: (i) the 1949 Act as amended by the 2001 Regulations had to be construed as far as possible in conformity with the Directive; (ii) that although it was proper to consider both similarities and differences between the respective machines, what mattered was the overall impression produced on the informed user by each design, having regard to the design corpus and the degree of freedom of the designer; and (iii) that the informed user was a knowledgeable user of domestic vacuum cleaners.

Arnold J dismissed Dyson's claim.

* The better interpretation of Article 8(1) of the Regulation (= Article 7(1) of the Directive) was that it denied protection to those features of a product's appearance that were chosen exclusively for the purpose of designing a product that performed its function, as opposed to features that were chosen, at least to some degree, for the purpose of enhancing the product's visual appearance. Those matters had to be assessed objectively: it was not necessary to determine what went on in the designer's mind when the design was being developed. The matter had to be assessed from the standpoint of a reasonable observer who looked at the design and asked himself whether anything other than purely functional considerations could have been relevant when a specific feature was chosen.

* Case law indicated that design freedom could be constrained by (i) the technical function of the product or an element of it; (ii) the need to incorporate features common to such products; and/or (iii) economic considerations.

* The designer's degree of freedom could be tested by reference to the existing design corpus, and evidence of design freedom could also come from designs produced after the date of the registered design. Production of a wide variety of designs after the registered design was evidence that the designer of the registered design had not been constrained to design the product in the way that he had.

* In general, the degree of freedom of the designer had to be judged by reference to the technical specification of the product he was designing, Thus a high technical specification was likely to impose greater technical constraints, leaving the designer a lesser degree of freedom, than a low technical specification.

* The existence of other IP rights was not a relevant consideration -- unless it was specifically proved that particular rights existed which imposed particular constraints on the freedom of the designer at the relevant time.

* Since the date as at which the overall impressions were to be compared was the date of the registered design, regard should be had to the existing design corpus as at that same date.

* In this case, the statement of novelty did not require the transparency of the bin, which was a feature of the design which contributed to its eye appeal, to be ignored, even if transparency was 'pattern' or 'ornament' rather than 'shape' or 'configuration'. The fact that it was common ground that the informed user would know that the article depicted in the representations was a cyclonic vacuum cleaner because the informed user would see the cyclone within the bin supported that conclusion.

* The existing design corpus case consisted of cylinder vacuum cleaners and, on the evidence, the registered design was strikingly different both in overall appearance and in numerous detailed aspects of the design to the existing corpus in December 1994.

* The transparent bin had not been chosen for purely functional reasons but had rather been chosen, at least to some degree, for the purpose of enhancing the cleaner's visual appearance.

* Considering the overall impressions of the respective designs from the perspective of the informed user, rather than their details, in the light of the existing design corpus and the degree of freedom of the designer, the informed user would notice that there were certain similarities between the two designs, including, for example, the inclined transparent bin, but would not consider those similarities to be particularly significant. He would also notice many differences between them including, for example, the rear view, and would consider a number of those differences to be significant. The overall impression produced by the registered design was smooth, curving and elegant, while that of Vax's product was rugged, angular and industrial, even somewhat brutal. Even on the basis that the registered design was entitled to a fairly broad scope of protection because of the differences between it and the existing design corpus and because of the degree of freedom of the designer, the overall impressions produced by the two designs were different.

The writer of this post finds it difficult to tell vacuum cleaners apart, regardless of their shape, size, colour or functionality, the only thing that distinguishes one from another is the degree of disturbance it inflicts upon him when well-meaning persons try to vacuum round him while he is composing on the computer. However, he feels uncomfortable at the degree of conceptualisation and over-intellectualisation that goes into ascertaining whether one household product, in whole or part, resembles another. He feels even more annoyed that there are so many versions of the Registered Designs Act 1949 floating around: if only the current one were given a different year, to enable him to tell it apart from the other similar or nearly identical versions of the Act that bear the same name.

For earlier Class 99 note ("Dyson set to clean up on registered design?") and probable illustrations, click here.
If reading this complicated note gives you a headache, click here.