{"title":"Designs, Parody and Artistic Expression — A Comparative Perspective of Plesner v Louis Vuitton","authors":"Jani McCutcheon","doi":"10.2139/SSRN.2655393","DOIUrl":null,"url":null,"abstract":"This article examines the legal issues raised in Plesner v Louis Vuitton through a comparative Australian and European lens. It uses the case as a springboard to critically examine some important differences between the way that Australian and European design law responds to creative expression, some of which impact the Advisory Council on Intellectual Property’s current review of the Designs Act 2003 (Cth). In 2008, Dutch artist Nadia Plesner, created a drawing, Simple Living, depicting a malnourished African child holding a Louis Vuitton ‘Audra’ handbag and a miniature Chihuahua. Plesner sold T-shirts depicting Simple Living to support a campaign to raise awareness of the atrocities then occurring in Darfur. Relying exclusively on its European Community registered design for the pattern of the bag shown in Simple Living, in May 2008 and again in 2010, Louis Vuitton obtained ex parte injunctions prohibiting Plesner from selling products infringing the registered design. In 2011, Plesner successfully appealed against the latest injunction on the basis that her human right to free expression was more important than Louis Vuitton’s property rights. This article poses the question: how would this case have unfolded under the very different Australian legal and human rights frameworks? As it responds to that question, the article explores the important differences between the European and Australian registered design systems, and discusses issues of broader significance than the specific facts of Plesner, and which should be considered in the current reform inquiry. Of particular interest and focus is the novel question of whether Australian design rights, which are not balanced by an express defence of fair dealing nor any concept of ‘design use’ comparable to trade mark use, might be a forceful, if unintended, inhibitor of artistic, political or parodic expression which might otherwise be immune under copyright and trade mark law. These risks need to be considered in the current reform debates.","PeriodicalId":44672,"journal":{"name":"Monash University Law Review","volume":"14 1","pages":"192-217"},"PeriodicalIF":0.0000,"publicationDate":"2015-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"6","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Monash University Law Review","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.2139/SSRN.2655393","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
引用次数: 6
Abstract
This article examines the legal issues raised in Plesner v Louis Vuitton through a comparative Australian and European lens. It uses the case as a springboard to critically examine some important differences between the way that Australian and European design law responds to creative expression, some of which impact the Advisory Council on Intellectual Property’s current review of the Designs Act 2003 (Cth). In 2008, Dutch artist Nadia Plesner, created a drawing, Simple Living, depicting a malnourished African child holding a Louis Vuitton ‘Audra’ handbag and a miniature Chihuahua. Plesner sold T-shirts depicting Simple Living to support a campaign to raise awareness of the atrocities then occurring in Darfur. Relying exclusively on its European Community registered design for the pattern of the bag shown in Simple Living, in May 2008 and again in 2010, Louis Vuitton obtained ex parte injunctions prohibiting Plesner from selling products infringing the registered design. In 2011, Plesner successfully appealed against the latest injunction on the basis that her human right to free expression was more important than Louis Vuitton’s property rights. This article poses the question: how would this case have unfolded under the very different Australian legal and human rights frameworks? As it responds to that question, the article explores the important differences between the European and Australian registered design systems, and discusses issues of broader significance than the specific facts of Plesner, and which should be considered in the current reform inquiry. Of particular interest and focus is the novel question of whether Australian design rights, which are not balanced by an express defence of fair dealing nor any concept of ‘design use’ comparable to trade mark use, might be a forceful, if unintended, inhibitor of artistic, political or parodic expression which might otherwise be immune under copyright and trade mark law. These risks need to be considered in the current reform debates.
本文通过比较澳大利亚和欧洲的视角来考察Plesner v Louis Vuitton案中提出的法律问题。本书以该案例为跳板,批判性地考察了澳大利亚和欧洲设计法对创造性表达的反应方式之间的一些重要差异,其中一些差异影响了知识产权咨询委员会目前对《2003年设计法》(Cth)的审查。2008年,荷兰艺术家纳迪亚·普雷斯纳(Nadia Plesner)创作了一幅名为《简单生活》(Simple Living)的画作,描绘了一个营养不良的非洲儿童拿着一个路易威登(Louis Vuitton)“Audra”手袋和一只迷你吉娃娃。普雷斯纳出售描绘简单生活的t恤,以支持一项提高人们对当时发生在达尔富尔的暴行的认识的运动。2008年5月和2010年,路易威登仅依靠其在欧共体注册的手袋图案设计,获得了单方面禁令,禁止Plesner销售侵犯其注册设计的产品。2011年,Plesner成功地对最新的禁令提出上诉,理由是她的言论自由人权比路易威登的财产权更重要。这篇文章提出了一个问题:在澳大利亚截然不同的法律和人权框架下,这一案件将如何展开?作为对这个问题的回应,本文探讨了欧洲和澳大利亚注册外观设计制度之间的重要差异,并讨论了比Plesner的具体事实更广泛意义的问题,这些问题应该在当前的改革调查中加以考虑。特别令人感兴趣和关注的是一个新问题,即澳大利亚的设计权,既没有通过对公平交易的明确辩护来平衡,也没有任何与商标使用相比较的“设计使用”概念,可能是一种强有力的,如果不是有意的,对艺术、政治或模仿表达的抑制,否则这些表达可能不受版权和商标法的保护。在当前的改革辩论中,需要考虑到这些风险。