Tax Law vs. Dolce & Gabbana

Zainspirowani ostatnimi wydarzeniami wokół marki modowej Dolce & Gabbana (Stefano Gabbana i jego partner Domenico Dolce zostali ukarani przez sąd w Mediolanie grzywną w wysokości 343,3 mln euro w związku z zarzutem oszustw podatkowych) zapraszamy na spotkanie "Kiedy podatki spotykają modę".

Zapraszamy na III spotkanie w ramach Akademii Soft Skills dla Prawników oraz Fashion Law.

fot. by Pszemek Dzienis

Jednym z naszych Prelegentów będzie dr Karolina Tetłak.  Dr Karolina Tetłak jest adiunktem w Katedrze Prawa Finansowego na Wydziale Prawa i Administracji Uniwersytetu Warszawskiego, gdzie prowadzi ćwiczenia dla studentów z przedmiotu Prawo finansów publicznych. Specjalizuje się w problematyce opodatkowania celebrytów, sportu i rozrywki oraz w podatkowych aspektach wielkich imprez sportowych. Autorka licznych publikacji z zakresu prawa podatkowego. Ukończyła studia o profilu podatkowym na wydziale prawa Harvard University.

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Projekt to cykl profesjonalnych szkoleń i wykładów przeznaczonych dla projektantów, producentów, właścicieli firm odzieżowych, specjalistów ds. marketingu, a także wszystkich osób chcących poszerzyć kompetencje z zakresu branży odzieżowej. Dzięki światowej klasy wykładowcom przybliżamy wiedzę trudno dostępną na polskim rynku, a jednocześnie potrzebną do prowadzenia biznesu modowego na najwyższym poziomie. 

W trakcie 8 edycji FashionPhilosophy Fashion Week Poland proponowane są dwa dni szkoleń zamkniętych, pierwszy poświęcony sprzedaży w biznesie modowym, drugi fashion marketingowi.

When Law meets Photography

W dniu 27 marca tego roku na ostatnim piętrze Traffic Club przy Brackiej 25 w Warszawie odbyło się spotkanie pt. "Granice prawa w fotografii mody", zorganizowane przez Fashion Law Business i Akademię Soft Skills dla Prawników, pod patronatem Instytutu Allerhanda i przy współpracy kancelarii prawnej Leśnodorski Ślusarek i Wspólnicy.

Pierwszym z prelegentów był Sebastian Daniel Woźniak, właściciel agencji modelingowej 4MIDABLE MANAGEMENT. Sebastian przedstawił, jak wygląda taka praca "od kuchni".  W trakcie opowiadania, pojawiły się między innymi takie zagadnienia jak: model jako produkt - czyli chęć przedstawienia danej osoby w jak najlepszym świetle, ukazania najlepszych cech danego modela czy modelki, zaprezentowania ich w najbardziej pożądany sposób przez inne agencje - często zagraniczne; booker - czyli osoba pełniąca funkcję pośrednika pomiędzy modelem czy modelką a klientem, który chce "zarezerwować" ich do swojej sesji czy wybiegu; skaut - swoisty researcher, szukający kandydatów na modeli, zwłaszcza w tłumie, na ulicy, a więc osoba nie mająca nic wspólnego z harcerstwem, i wiele innych. W trakcie wykładu Sebastian zaznaczył, jak bardzo ważne są kwestie prawne w pracy agencji modelingowej, obecne od samego początku współpracy z danym modelem czy modelką. Poczynając od kontraktu pomiędzy modelem a agencją (terminy, wynagrodzenie itd), przez prawo do wykorzystywania jego wizerunku i inne podobne zagadnienia. Jest ich całe mnóstwo. Co ciekawe, tylko jedna agencja modelingowa w Warszawie korzysta z pomocy prawnika wewnętrznego, tzw. in-house lawyera. Praca modela czy modelki to nie tylko przyjemności. Opowiedziała nam o tym modelka agencji 4MIDABLE MANAGEMENT.

Licensing music

Fashion companies typically do not compose and record music in-house for their advertising campaigns. Instead, either they task their advertising agencies to compose original music (lyrics and melody) and to hire outside musicians to record those compositions, or they license existing compositions from music publishers and then either hire outside musicians to record those compositions or license existing recordings of those compositions form record labels.  Regardless of its originality, much of the music heard in fashion advertising campaigns is not owned by the fashion company, but rather is, at least in part, licensed. For that reason a review of the major types of music licenses provides helpful guidance.

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Synchronization License

A synchronization (or "synch") license gives an advertiser the right to use a musical composition (words and music) in timing with film, video, or other images, for example, as in a commercial or on a website. A synch license will include the right to copy the composition, to distribute copies of the audiovisual work (e.g., commercial) containing the composition, and to publicly perform the composition in connection with display and performance of the associated audiovisual work. This license will expressly exclude and disclaim any rights to any sound recording of the composition and will direct the advertiser to separately secure such rights through a master use license. A synch license also generally will not include any right to distribute sound-only recordings (e.g., Cds, MP3s) of the composition. Advertisers typically obtain a synch license from a music publishing company, rather than directly from the lyricist or composer who wrote the licensed composition.

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Photography

Zanotti New Campaign, SS 2013 with Anja Rubik

Fashion companies typically acquire photographs for their advertising campaigns either by shooting original photography in-house, commissioning original photography from an outside vendor, or by licensing existing photography from a third-party vendor - often a stock photo house. Stock houses - the most well-known of which are Corbis and Getty - are companies that own or have licensed extensive libraries of original photographs, and further license or sublicense those photographs on a photo-by-photo basis to advertisers and other for advertising campaigns and other projects.

Original Photography

Fashion companies and their advertising agencies or outside creative services providers should be way of basing their original photographs on third-party photographs, including third-party photographs that the advertiser or outside vendor has used in a mock-up (also known as a composite or comp) that informally presents the look, feel, and general subject matter of the proposed final photograph. 

What is trade dress and how is trade dress protected?

Trade dress is a form of IP that specifically protects the look or form of a product if the public has come to recognize that look as coming from a particular source. Trade dress is the "look" of an article or its packaging. The blue Tiffany box and Coca-Cola's glass bottle are considered notable examples of trade dress. However, trade dress does not protect functional elements. A product element is considered functional when the product would not work properly without that element. A good indication that something is functional would be that the element is disclosed in a utility patent. Trade dress only protects nonfunctional elements, or those elements of a product design that are primarily aesthetic, but only when these elements indicate the source of a product or service.

Source: www.ipbrief.net 

Source: annadeloresphoto.blogspot.com 

Source: www.hollywoodmegastore.com 

Personal Names as Trademarks

Disputes often arise when a fashion designers parts ways with a cooperate manufacturer that has acquired proprietary rights in the designer's name. While courts are generally reluctant to forbid a person from using his or her own name, they will limit a fashion designer from using his or her name if such restraint is necessary to avoid confusion in the marketplace. For example, in one case a court prohibited Paolo Gucci, the former chief designer of Gucci and grandson of its namesake designer, Guccio Gucci, from using the name "Gucci" as part of any trademark or trade name. Paolo Gucci was allowed to use his name only to identify himself as the designer of the products sold under a separate name. 

Source: moda-online.pl

In a more recent dispute, Paul Frank Industries, Inc. ("PFI"), brought a trademark infringement action against its former namesake designer, Paul Frank Sunich, alleging Mr. Sunich's use of his name in the sale of T-shirts after he had left PFI violated PFI's trademark rights. Finding that PFI had spent significant resources marketing and advertising the now famous Paul Frank mark, the court enjoined Mr. Sunich from using his name in areas (such as clothing) where the public had come to associate to use of Paul Frank with PFI. The court also ruled that if Mr. Sunich identified himself as the designer of products in areas that the public did not associate with PFI, those products would have to bear a disclaimer stating that Mr. Sunich is no longer affiliated with PFI.

Source: en.wikipedia.org