THE IMPORTANCE OF THE IMPORTANCE OF COPYRIGHT IN THE COPYRIGHT IN THE TEXTILES, APPARELS & TEXTILES, APPARELS & LIFESTYLE SECTORS LIFESTYLE SECTORS Jyotsna Balakrishnan Jyotsna Balakrishnan Anand & Anand, New Delhi Anand & Anand, New Delhi June 2005 June 2005 [email protected][email protected]
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THE IMPORTANCE OF COPYRIGHT IN THE TEXTILES, APPARELS & LIFESTYLE SECTORS Jyotsna Balakrishnan Anand & Anand, New Delhi June 2005 [email protected].
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THE IMPORTANCE OF THE IMPORTANCE OF COPYRIGHT IN THE COPYRIGHT IN THE
Fashion design lies at the cusp between “creativity” and “industrial manufacture”
For example, in the apparel industry many designers have crossed the boundaries between “wearable art” and “wearable apparel”
Thus, the distinction made by law between “purely artistic works” and works that have been commercialised can be problematic in many cases
LIMITATIONS OF PROTECTION OFFERED BY DESIGNS LAW
A design needs to be registered for any kind of rights to be claimed over it – it may not be feasible to register every design that is created by designers
A design right cannot be claimed over a design that has been published/disclosed to the public
A design right will only be granted on the fulfilment of various criteria like “novelty”, eye appeal and non-functionality
PROPERTY RIGHTS
Physical property right
Intellectual property right
Both are independent & mutually exclusive
Literary
Films
Dramatic
Musical Sound Recording
Artistic
Copyright Act, 1957
“ARTISTIC WORKS”A painting, sculpture, drawing, engraving, ….whether or not possessing artistic quality
Any other work of “artistic craftsmanship”
COPYRIGHT – A BUNDLE OF RIGHTS
Economic Rights
Reproduce or make copies
Issue copies- sell, distribute, etc .
Display to public
Adapt
Assign/License
Moral rights
Right of acknowledgement
Right to object against mutilation /distortion of work
COPYRIGHT Term of protection - Life + 60 years
Copyright subsists worldwide - BERNE Convention
No necessity for registration though it is advisable to register
REQUIREMENTS OF COPYRIGHT PROTECTION
“Originality” – it should originate from the author – product of independent creation
“Fixation” – should be expressed in a material form
WHO OWNS THE COPYRIGHT IN WHO OWNS THE COPYRIGHT IN A WORK?A WORK?
The Creator
Exceptions:Exceptions:Written agreement to the contraryEmployeeSpecially commissioned work Made for valuable consideration
“ARTISTIC WORKS”A painting, sculpture, drawing, engraving, ….whether or not possessing artistic quality
Any other work of “artistic craftsmanship”
Also capable of protection under Designs Act
A “DESIGN” UNDER THE A “DESIGN” UNDER THE DESIGNS ACT, 2000DESIGNS ACT, 2000
2D or 3D 2D or 3D featuresfeatures of shape, configuration, pattern, ornament, composition of lines, colours
Applied to any article by any industrial process or industrial process or meansmeans
The finished article appeals to the eyeappeals to the eye
Does not include anything which is in substance a mere Does not include anything which is in substance a mere mechanical devicemechanical device
Not an artistic work or trademark
COPYRIGHT / DESIGN OVERLAP
There will be works that are both protectible under copyright law as well as under designs law
Indian law has tried to resolve this by the provision of Section 15(2), Copyright Act, 1957 – makes the position more anomalous
SECTION 15(2), COPYRIGHT ACT, 1957
Copyright does not subsist in design registered under the Designs Act
Design capable of being registered, but which has not been so registered - copyright shall cease as soon as any article to which the design has been applied more than FIFTY TIMES by an industrial process
Copyright & Designs Copyright & Designs LawLaw
It may not be practically possible for a designer to get all his designs registered
Under the present framework, functional designs can claim full copyright protection but non-functional, aesthetic & novel designs that are not registered designs, lose all protection – highly anomalous
Copyright & Designs Copyright & Designs LawLaw
Designs that are not commercialised (i.e., not produced more than 50 times), enjoy full copyright protection even if not registered as a design
It may be argued that a design that has been commericalised, may be capable of protection under Copyright Act on the basis of the underlying artistic works (i.e., the sketches, engravings, prototypes, etc.) though Section 15 (2) remains a bar
Copyright & Designs Copyright & Designs LawLaw
It is therefore important to maintain documentation and records at every stage of product design and development as this may help in claiming protection for a design under the Copyright Act, 1957
Also, once you are seriously thinking of getting into mass production of a design, file a design application as that would provide you stronger protection & complete monopoly
Practically not possible for an individual to manage licensing cost-effectively
Eg., Fashion Originator’s Guild of America
CONCLUDING POINTSCONCLUDING POINTSMaintain documentationMaintain documentation at every stage of at every stage of design & product developmentdesign & product development as it may help as it may help you to claim copyright protection even if your you to claim copyright protection even if your commercialised design is not registeredcommercialised design is not registered
Get your work registered in the Copyright Get your work registered in the Copyright Office- not necessary but advisableOffice- not necessary but advisable
Be clear on the ownership of copyrightBe clear on the ownership of copyright
Copyright notice & name of author to be Copyright notice & name of author to be mentioned wherever possible- label, packaging, mentioned wherever possible- label, packaging, invoice…invoice…
CONCLUDING POINTSCONCLUDING POINTS
If you seriously contemplate If you seriously contemplate getting into mass production getting into mass production of a design, put in a of a design, put in a application for design application for design registration – gives you full registration – gives you full monopoly over the design monopoly over the design