DOCSLIB.ORG

Curbing Cultural Appropriation in the Fashion Industry

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Curbing Cultural Appropriation in the Fashion Industry CIGI Papers No. 213 — April 2019 Curbing Cultural Appropriation in the Fashion Industry Brigitte Vézina CIGI Papers No. 213 — April 2019 Curbing Cultural Appropriation in the Fashion Industry Brigitte Vézina CIGI Masthead Executive President Rohinton P. Medhora Deputy Director, International Intellectual Property Law and Innovation Bassem Awad Chief Financial Officer and Director of Operations Shelley Boettger Director of the Global Economy Program Robert Fay Director of the International Law Research Program Oonagh Fitzgerald Director of the Global Security & Politics Program Fen Osler Hampson Director of Human Resources Laura Kacur Deputy Director, International Environmental Law Silvia Maciunas Deputy Director, International Economic Law Hugo Perezcano Díaz Director, Evaluation and Partnerships Erica Shaw Managing Director and General Counsel Aaron Shull Director of Communications and Digital Media Spencer Tripp Publications Publisher Carol Bonnett Senior Publications Editor Jennifer Goyder Senior Publications Editor Nicole Langlois Publications Editor Susan Bubak Publications Editor Patricia Holmes Publications Editor Lynn Schellenberg Graphic Designer Melodie Wakefield For publications enquiries, please contact [email protected]. Communications For media enquiries, please contact [email protected]. @cigionline Copyright © 2019 by the Centre for International Governance Innovation The opinions expressed in this publication are those of the author and do not necessarily reflect the views of the Centre for International Governance Innovation or its Board of Directors. This work is licensed under a Creative Commons Attribution — Non-commercial — No Derivatives License. To view this license, visit (www.creativecommons.org/licenses/by-nc-nd/3.0/). For re-use or distribution, please include this copyright notice. Printed in Canada on paper containing 100% post-consumer fibre and certified by the Forest Stewardship Council® and the Sustainable Forestry Initiative. Centre for International Governance Innovation and CIGI are registered trademarks. 67 Erb Street West Waterloo, ON, Canada N2L 6C2 www.cigionline.org Table of Contents vi About the Author vi About the ILRP 1 Executive Summary 1 Introduction 2 Setting the Scene: Cases of Cultural Appropriation in Fashion 5 What Is Cultural Appropriation? 7 Cultural Appropriation: Origins and Consequences 10 Principles for Using TCEs in an Appropriate Fashion 12 Policy, Legal and Practical Solutions to Curb Cultural Appropriation 15 Conclusion: Looking beyond Fashion 16 About CIGI 16 À propos du CIGI About the Author About the ILRP Brigitte Vézina is a fellow with CIGI’s International The International Law Research Program (ILRP) Law Research Program. At CIGI, she analyzes the at CIGI is an integrated multidisciplinary key challenges in the ongoing efforts to develop an research program that provides leading international system of protection for traditional academics, government and private sector cultural expressions (TCEs). Her research aims legal experts, as well as students from Canada to present ways of protecting TCEs on both the and abroad, with the opportunity to contribute domestic and international levels. She is currently to advancements in international law. an international law consultant at Brigitte Vézina – Law & Culture, where she advises clients on legal The ILRP strives to be the world’s leading and policy issues related to copyright and cultural international law research program, with heritage. From 2006 to 2016, Brigitte worked at the recognized impact on how international law World Intellectual Property Organization in Geneva, is brought to bear on significant global issues. Switzerland, as a legal officer in the Traditional The program’s mission is to connect knowledge, Knowledge Division, dealing with intellectual policy and practice to build the international law property issues related to TCEs. Brigitte also worked framework — the globalized rule of law — to in the Cultural Enterprise and Copyright Section support international governance of the future. at the United Nations Educational, Scientific and Its founding belief is that better international Cultural Organization in Paris, France, and with governance, including a strengthened international the Montreal-based intellectual property law firm, law framework, can improve the lives of people Robic. Brigitte holds an LL.B. from the University everywhere, increase prosperity, ensure global of Montreal (2002) and an LL.M. from Georgetown sustainability, address inequality, safeguard University (2005, with distinction). She has human rights and promote a more secure world. been a member of the Quebec Bar since 2003. The ILRP focuses on the areas of international law that are most important to global innovation, prosperity and sustainability: international economic law, international intellectual property law and international environmental law. In its research, the ILRP is attentive to the emerging interactions among international and transnational law, Indigenous law and constitutional law. vi CIGI Papers No. 213 — April 2019 • Brigitte Vézina number of recommendations may guide fashion designers into adopting respectful behaviour in Executive Summary relation to the use of TCEs in their creations. The fashion industry has faced several accusations Centrally, several concrete policy, legal and of cultural appropriation over the past decade. practical solutions can be developed at the For example, American clothing retailer Urban international level to put an end to cultural Outfitters made headlines in 2011 when it issued appropriation: the IP system can be adapted to Navajo-themed items, including underwear with offer adequate protection for TCEs; awareness can traditional patterns, much to the discontent of be raised among fashion designers and consumers the Navajo Nation. Likewise, French designer alike so as to deter cultural appropriation; and Isabel Marant was criticized in 2015 for designing initiatives can be carried out to strategically a dress similar to a traditional blouse that has support Indigenous fashion designers. been made for centuries by the Mixe people, an Indigenous community in Mexico. Cultural Cultural appropriation is not confined to appropriation may be summarily described as the world of fashion but manifests itself in the taking, by a member of a dominant culture, other sectors, such as film, music and art. of a cultural element from a minority culture, Furthermore, from an Indigenous, holistic without consent, attribution or compensation. viewpoint, TCEs are intrinsically linked to traditional knowledge, and developments in Cultural appropriation cases spark passionate the protection of TCEs can positively impact debate because while fashion’s borrowing of the protection of traditional knowledge. stylistic elements from other cultures is common practice, it can, in reality, be offensive to the holders of traditional cultures. Misinterpretation or disregard for the cultural significance of a traditional cultural expression (TCE), even if unintentional, can have drastic consequences, Introduction both culturally and economically. Calls for action to curb appropriation emphasize a Over the last two decades, the fashion industry need for Indigenous peoples to have better — ranging from luxury designers to mainstream control over their TCEs, including through the retailers — has developed a noticeable appetite intellectual property (IP) system and in line for all things traditional, ethnic, folkloric or with the United Nations Declaration on the Indigenous. Flipping through the pages of Rights of Indigenous Peoples (UNDRIP).1 fashion magazines or navigating the fashion blogosphere, one cannot avoid noticing the craze. Cultural appropriation may be explained, in part, by the jarring relationship between TCEs Many of the fashion designers partaking in this and IP, in particular copyright. While TCEs, such trend source their inspiration from the diverse as traditional designs or motifs, are a product cultures of Indigenous peoples from around the of the human mind, extant copyright law fails world and incorporate stylistic elements, such to provide adequate protection to TCEs, casting as patterns, motifs or design features, into their most of them into the public domain and thus creations. These elements often fall under the making them vulnerable to appropriation. For concept of TCEs developed by the World Intellectual instance, protection remains unavailable for TCEs Property Organization (WIPO). Unfortunately, that have been passed down the generations fashion designers sometimes use TCEs from and thus fail to meet the originality criterion. foreign cultures in ways that disregard the cultural significance for their holders2 and cause them Drawing from actual cases of cultural appropriation in the fashion industry and relying on IP laws and principles, in particular moral rights, a 2 The term “holder” is used in this paper to overcome a lack of agreed terminology on the legal status of the communities that create, hold, 1 United Nations Declaration on the Rights of Indigenous Peoples, GA Res develop and transmit TCEs down the generations. In some contexts, 295, UNGAOR, 61st Sess, Supp No 49, UN Doc A/RES/61/295, 46 ILM holders could more appropriately be referred to as “guardians,” 1013 (2007). “stewards” or “owners.” Curbing Cultural Appropriation in the Fashion Industry 1 profound cultural, social and economic harm. This its harmful consequences. Drawing from
Load more

Recommended publications
  • What Do People from Other Countries/Cultures Wear? 4-H Clothing and Textiles Project Part of the Family and Consumer Sciences 4-H Project Series
    1-2 YEARS IN PROJECT What do People from Other Countries/Cultures Wear? 4-H Clothing and Textiles Project Part of the Family and Consumer Sciences 4-H Project Series Understanding Textiles (Fabric) Project Outcome: Global/ Ethnic- Identify various fabric as belonging to specific ethnic cultures. Project Indicator: Completed exploration of specific items worn in identified countries/cultures, the clothes worn during festivals/celebrations, and fabrics used. Do you know someone from another country? Or have you ever seen, in person or on TV, a festival or celebration from another country? Have you noticed that they wear clothes that are different from what you and I wear? While some of their celebrations are the same as ours, the clothes they wear may be different. It is fun and interesting to learn about what people from other countries wear during their festivals and celebrations. In learning this, you can also learn about the fabrics that they use to make their garments for these festivals. For this activity, you will learn about four different cultures, what they wear, especially for their festivals/celebrations or based on their religion, and what fabrics they make and use for clothing worn. Then you will be asked to do your own research to discover more about the clothing of these and other cultures. First, let’s define the word culture. Culture means: the beliefs and customs of a particular group of people which guides their interaction among themselves and others. A country can contain people from more than one cultural background. They may or may not observe the same celebrations or traditions in the same way.
    [Show full text]
  • Sindhi Patchwork, Artisans and Fashion Industry
    ISSN: 2641-192X DOI: 10.33552/JTSFT.2021.07.000673 Journal of Textile Science & Fashion Technology Research Article Copyright © All rights are reserved by Muhammad Hussnain Sethi Sindhi Patchwork, Artisans and Fashion Industry Lei Shen and Muhammad Hussnain Sethi* School of Design, Jiangnan University, China *Corresponding author: Muhammad Hussnain Sethi, School of Design, Jiangnan Received Date: November 16, 2020 University, Wuxi, 214122, China. Published Date: February 23, 2021 Abstract it is worth 480 billion dollars and is projected to hit 700 billion dollars in a couple of years eventually. The reason explained behind this is that everyoneFood, isapparel getting and conscious shelter are of the basicway they human look. needs. Clothing The apparelhas become industry a mean is massive of creating since itan satisfies impression the second and people basic humanwant to need. wear At the present, latest fashionable clothes to portray their personality. However, the matter of concern is that due to the human desire to wear beautiful and fashionable clothes, ‘fast fashion’ industry has come into existence, causing the destruction to the world’s resources and environment. Fashion Industry is among the top three polluters on the earth and produces almost 92 million tons of waste every year. In addition, 20 percent of the world’s freshwater pollution is due to fabric treatment and dyeing. The clothing industry needs to play an important role in sustainable development, and researchers need to introduce more new and innovative ideas regarding sustainability to help the industry. There is a debate that patchwork design can be one of those steps that can lead the fashion industry towards sustainability and slow fashion.
    [Show full text]
  • American Culture: Fashion and Sustainability
    AMERICAN CULTURE: FASHION AND SUSTAINABILITY A thesis submitted to the Kent State University Honors College in partial fulfillment of the requirements for Departmental Honors by Kelsey Merritt May, 2018 Thesis written by Kelsey Merritt Approved by _____________________________________________________________________, Advisor _____________________________________________________________________, Co Advisor ______________________________________________, Director of Fashion Accepted by ___________________________________________________, Dean, Honors College ii TABLE OF CONTENTS LIST OF FIGURES…..……………………………………………...……………………iv LIST OF TABLES………..………………………………………………………………vi ACKNOWLEDGMENT………………………………………….……………………..vii CHAPTERS I. INTRODUCTION……………………………………………….………..1 Delimintations……………………………………………………………..4 II. LITERATURE REVIEW………………………………………….………6 III. DATA COLLECTION METHODS……………………………………..12 IV. FINDINGS AND DISCOVERINGS…………………………………….42 V. RECOMMENDATIONS………………………………………………...48 REFERENCES……………………………………………………………………...…...54 APPENDIX 1. Appendix A………………………………………………………………58 2. Appendix B………………………………………………………………60 3. Appendix C………………………………………………………………63 4. Appendix D………………………………………………………………66 iii LIST OF FIGURES Figure 1: Inside Stoll knit factory………………………………………………………..15 Figure 2: Stoll’s knit factory entrance…………………………………………………...16 Figure 3: Sample garments created………………………………………………………16 Figure 4: Ka de We shoe floor…………………………………………………………...18 Figure 5: Rug maker……………………………………………………………………..20 Figure 6: Testing rug making myself…………………………………………………….20
    [Show full text]
  • Unlocking the Reuse Revolution for Fashion: a Canadian Case Study
    Unlocking the Reuse Revolution for Fashion: A Canadian Case Study by Laura Robbins Submitted to OCAD University in partial fulfillment of the requirements for the degree of Master of Design in Strategic Foresight & Innovation Toronto, Ontario, Canada, 2019 Copyright Notice This document is licensed under the Creative Commons Attribution-NonCommercial- ShareAlike 4.0 International (CC BY-NC-SA 4.0). https://creativecommons.org/licenses/by-nc- sa/4.0/ You are free to: • Share — copy and redistribute the material in any medium or format • Adapt — remix, transform, and build upon the material Under the following conditions: • Attribution — You must give appropriate credit, provide a link to the license, and indicate if changes were made. You may do so in any reasonable manner, but not in any way that suggests the licensor endorses you or your use. • NonCommercial — You may not use the material for commercial purposes. • ShareAlike — If you remix, transform, or build upon the material, you must distribute your contributions under the same license as the original. ii ABSTRACT This research aims to explore the potential of clothing reuse as a stepping stone towards a more circular economy for fashion. A systems approach to problem finding, framing, and solving is applied to explore how we might increase fashion reuse behaviours amongst consumers and industry alike. This research includes an analysis of the key barriers that prevent higher rates of participation in fashion reuse despite the potential economic, environmental, and social benefits of doing so (Part 2), and identifies areas of opportunity to focus innovation (Part 3). Research methodology included more than 30 one-on-one consumer interviews, 20 interviews with industry professionals along the fashion value chain, and an extensive environmental scan with a particular focus on the Canadian market.
    [Show full text]
  • The Cultural Significance of Women's Textile Co Operatives in Guatemala
    HECHO A MANO: THE CULTURAL SIGNIFICANCE OF WOMEN’S TEXTILE CO­ OPERATIVES IN GUATEMALA A* A thesis submitted to the faculty of 'ZQ IB San Francisco State .University M ^ In partial fulfillment of the requirements for the Degree Master of Arts In Humanities by Morgan Alex McNees San Francisco, California Summer 2018 Copyright by Morgan Alex McNees 2018 CERTIFICATION OF APPROVAL I certify that I have read Hecho a Mano: The Significance o f Women s Textile Cooperatives in Guatemala by Morgan Alex McNees, and that in my opinion this work meets the criteria for approving a thesis submitted in partial fulfillment of the requirement for the degree Master in Humanities at San Francisco State University. Cristina Ruotolo, Ph.D. Professor of Humanities —^ t y i t u A . to Laura Garci'a-Moreno, Ph.D. Professor of Humanities HECHOAMANO: THE CULTURAL SIGNIFICANCE OF WOMEN’S TEXTILE COOPERATIVES IN GUATEMALA Morgan McNees San Francisco, California 2018 After the civil war Mayan women in Guatemala are utilizing their traditional skills, specifically weaving, to rebuild communities and rediscover what it means to be Mayan today. This thesis will explore the impact of the textile market on the social standing of Mayan women and how weaving allows them to be entrepreneurs in their own right. I will also analyze the significance of Mayan textiles as a unifier and symbol of solidarity among the devastated Mayan communities, and the visual narratives depicted in the artwork and their relationship to the preservation of Mayan heritage. This research will focus on several women’s textile cooperatives in Guatemala.
    [Show full text]
  • Considered Fashion Award Title
    Katelyn Harris The University of South Wales Fashion Marketing and Retail Design Considered Fashion Award Title Supporting Statement Tech Boutique is a new concept in response to the un-sustainable and un-ethical impact that the fashion industry has had on the environment. This is a digital, innovative service, that enables customers to try clothes on virtually in-store and purchased on a made to order basis. Using sustainable and ethical suppliers within the supply chain. All suppliers are UK based and the packaging is made from sustainable materials and can also be recycled. This is to eliminate the following issues, such as mass production and the amount of waste that is produced as a result, replacing unsustainable materials, replacing fossil fuel generated energy with green energy, to eliminate the unfairness and poor treatment of workers and to reduce the amount of packaging that gets wasted and as a result pollutes the enviroment and wildlife. The suppliers within the supply chain of the service use sustainable and ethical products and green energy sources to produce their garments. This is to reduce the amount of CO2 that is produced when shipping and producing garments. In addition, the suppliers also have ethical policies in place, to ensure workers have safe and healthy working conditions. Having ordered their products in-store, the customer’s order is then produced in the UK and delivered to their home address. The delivery is packaged in recycled packaging, which can be used as a circular reuse. This is to reduce the amount of plastic used and the amount of packaging wasted.
    [Show full text]
  • Passport to the World (Mexico) Haleigh Wilcox About Mexico
    Passport to the World (Mexico) Haleigh Wilcox About Mexico Official name : United Mexican States Established : September 16th ,1810 Type of Goverment : Federal, Republic, Constitution Republic and has a Presidential Representitive Current President of Mexico : Andres Manuel Lopez Obrabor Haleigh Wilcox Mexico’s Geography in the World Mexico’s Own Geography Continent it’s in : South America Capital City : Mexico City Latitude : 23.6345 Other Major Cities : Ecatepec, Puebla, Guadalajara, Juarez Other Geographic Features : Lake Chapala, Sonoran Desert, Sierra Side of Equator : North Madres, Chihuahuan Desert o o Average Tempurature : December-71 F/21.67 C Size : 758,449 sq. miles June-57oF/13.89oC Major Tourist Sites : Teotihuacan, Copper Canyon, Cozumel, Tulum, El Arco, San Ignacio Lagoon Haleigh Wilcox About The People Mexico’s Economy Population : 110,939,132 Basic Unit of Currency : Peso Major Languages Spoken : Nahuatl (22.89%), Mayan Major Agricultural Products : sorghum, chili peppers, barley*, (12.63), Mixteco (7.04%), Zapoteco (6.84%), Tzeltal (6.18%) avocados*, blue agave, coffee* Manufactured Products : Oil, Cotton, Silver, Cars, Insulated Wires Area Percentage Where People Live : 33% Rural, 77% and Cables, Tractors Urban Type of region : Developing Haleigh Wilcox Mexico’s Culture House Type : Mexican houses, Mexican Ranch Homes, Some famous People : Salma Hayek (2002 Film Actress and Spanish villa, Adobe, Misision Style Mansion Producer) and Espinoza Paz (2006 Latin Musician) Clothing Type : Slacks or jeans with a button-down shirt or Foods We Eat That Are Prepared In Mexico : Tacos, T-shirt for men and a skirt or slacks with a blouse or T-shirt Burritos, Tostadas for women.
    [Show full text]
  • The Law, Culture, and Economics of Fashion
    THE LAW, CULTURE, AND ECONOMICS OF FASHION C. Scott Hemphill* & Jeannie Suk** INTRODUCTION....................................................................................................... 102! I. WHAT IS FASHION? ............................................................................................. 109! A. Status ........................................................................................................... 109! B. Zeitgeist ....................................................................................................... 111! C. Copies Versus Trends .................................................................................. 113! D. Why Promote Innovation in Fashion? ........................................................ 115! II. A MODEL OF TREND ADOPTION AND PRODUCTION ........................................... 117! A. Differentiation and Flocking ....................................................................... 118! B. Trend Adoption ............................................................................................ 120! C. Trend Production ........................................................................................ 122! III. HOW UNREGULATED COPYING THREATENS INNOVATION ............................... 124! A. Fast Fashion Copyists ................................................................................. 124! B. The Threat to Innovation ............................................................................. 128! 1. Harmful copying ..................................................................................
    [Show full text]
  • PDF (Thumbnails)
    Polar bear with Cub (AC1) Boy Fishing (AC2) Humpback whale (AC3) Spirit of the Mountain (AC4) Two-Headed Statue (AC5) Stages of Marriage Bracelet (AC7) Eagle and Fish (AC8) Caribou Skin Mask with Black Ink Tattoos (AC6) Miniature Mountain Spirit Mask (AC9) Loon Birds Earrings (AC10) Kayak Necklace (AC11) Ivory Swan Pendant (AC12) Page 1 Lucky Halibut (AC13) Round Earrings (AC14) Rhombus Earrings (AC15) Beluga Whale (AC16) Baby Seal (AC17) Baby Polar Bear (AC18) Bird Pendant (AC19) Button Face Native Doll (AC20) Yupik Bone Doll (AC21) Yupik Bone Doll (AC22) Chevak Cup'ik Doll holding Berries (AC23) Chevak Cup'ik Doll (AC24) Page 2 Chiapas Magdalena Huipil (AFFA3) Big Jaguar Wrap Skirt (AFFA1) Chiapas Tenejapa Huipil (AFFA4) Blue Hearts Huipil (AFFA2) Chiapas Tenejapa Shawl (AFFA5) Chiapas Zinacantan Huipil (AFFA6) Chichicastenango Flowers Huipil (AFFA8) Chiapas Zinacantan Serape (AFFA7) Chichicastenango Huipil (AFFA9) Colotenango Huipil (AFFA10) Joyabaj Huipil (AFFA12) Jalapa de Diaz Oaxaca Multicolored Bird and Flower Huipil (AFFA11) Page 3 Market Apron (AFFA13) Men's Poncho (AFFA14) Oaxacan Huautla Huipil and Falda (AFFA16) Oaxacan Amuzgo Huipil (AFFA15) Chichicastenango Huipil with gold threading (AFFA17) Patzún Huipil 1 (AFFA18) Patzún Huipil 2 (AFFA19) Pink Belt (AFFA20) San Antonio Aguas Calientes Huipil San Lucas Toliman Huipil (AFFA23) (AFFA21) Santa Maria Nebaj Huipil (AFFA24) San Juan Sacatepequez Faja (AFFA22) Page 4 Santiago Atitlán Bird Huipil #2 (AFFA26) Santiago Atitlán Bird Huipil (AFFA25) Santiago Atitlán Turkey Huipil (AFFA27) Trique Huipil (AFFA28) Ecuadorian Women's Outfit (AFFA32) Two Peacocks Black and White Dress White Campesina Blouse (AFFA30) (AFFA29) White Skirt with Woman and Horse Scene on Edge (AFFA31) St.
    [Show full text]
  • Versace's Native American
    VERSACE’S NATIVE AMERICAN A COLONIZED FEMALE BODY IN THE NAME OF AESTHETIC AND DYNASTIC GLORY 1 In this contemporary moment fashion designers have the means to collaborate with Native American fashion designers. However, there is still a flourishing fashion market that refuses to recognize Native American tribes as owners of intellectual property.1 While some brands may initially start on the right track via collaboration with Native artists, it may not always end in success.2 Most recently, Versace has included Native American designs in their ready-to-wear fashion for the 2018 Spring-Summer season. This component of the collection belongs to a tribute honoring Gianni Versace and his original FW ’92 Native American print (Figures 1 and 2).3 I will be discussing the implications of the revived Native American print and how it affects Native North American men and women. In this essay, I will look at Versace’s legacy and his original print; the new Native American Tribute Collection by Donatella Versace; and Donna Karan’s collaboration with Pueblo artist, Virgil Ortiz. I argue that respectful recognition of Native North American property is thrown aside for aesthetic and dynastic glory, which in turn, allows non-Native designers to colonize the ‘exotic’ Native woman’s body by denying Native North American men and women the opportunity to represent themselves to the global fashion community. Virgil Ortiz’s collaboration with Donna Karan illustrates how respectful collaboration can shape the dominant society’s perception of Native North American women. If we use Native North American fashion as a framework to understand how Native designers are working to dismantle mainstream stereotypes, it is imperative that global designers 1 “Navajo Nation Sues Urban Outfitters,” Business Law Daily, March 18, 2012.
    [Show full text]
  • November 10 - 13, 2015 Thank You to Organizations and Individuals Whose Support Made This Event Possible
    November 10 - 13, 2015 Thank You to Organizations and Individuals Whose Support Made this Event Possible Event Sponsors Fairchild Books and Bloomsbury Publishing Fashion Supplies Lectra Paris American Academy Award Sponsors Alvanon ATEXINC Cotton Incorporated Eden Travel International Educators for Responsible Apparel Practices Fashion Supplies Intellect Books Lectra Optitex Regent’s University London Vince Quevedo and ITAA Members who have contributed to ITAA Development Funds Conference Chairs especially want to thank the following individuals: Laurie McAlister Apple Kim Hiller Young-A Lee Ellen McKinney Genna Reeves-DeArmond Diana Saiki Mary Ruppert-Stroescu and all the dozens of ITAA volunteers! Conference Program Sponsored by Paris American Academy Introduction Headings Link to Detailed Information WELCOME TO THE ITAA 2015 ANNUAL CONFERENCE CONFERENCE MEETING SPACE ITAA 2015 DISTINGUISHED FACULTY AWARD WINNERS ITAA 2015 KEYNOTE LECTURERS ITAA 2015 THEME SESSION SPEAKERS ITAA SPONSOR PAGES ITAA MEMBER PROGRAM PAGES CONFERENCE SCHEDULE (details & links on following pages) RESOURCE EXHIBITOR LIST CAREER FAIR PARTICIPANT LIST REVIEW AND PLANNING COMMITTEES 2015 ITAA COUNCIL MEMBERS Tuesday at a Glance 7:30am-7:00pm Registration Open Concourse 8:00am-6:00pm Projector Practice and Poster Preparation De Vargas 9:00am-5:00pm Accreditation Commission Meeting Chaparral Boardroom, 3rd floor 8:30am-12:30pm Workshop: Leadership in Academia Zia B 9:00am-4:00pm Tour: Taos: Fashion, Pueblo, and a Unique Resident 10:00am-3:00pm Tour: Museum of International
    [Show full text]
  • Protecting Moral Rights Without Disturbing the Fashion Dynamic
    Note The Sartorial Dilemma of Knockoffs: Protecting Moral Rights without Disturbing the Fashion Dynamic Margaret E. Wade In the months leading up to the wedding of Prince William and Catherine Middleton‘s wedding, the future Duke and Duchess of Cambridge kept Catherine‘s gown a secret. But as soon as she stepped out to reveal Sarah Burton‘s Alexander McQueen creation to the world, copycat designers began work- ing on knockoffs available for a fraction of the price.1 A similar phenomenon occurs every year during awards season, when film and television stars parade in couture gowns on the red carpet and copycat designers immediately manufacture repli- cas.2 Beyond the glitz of high couture, an emerging designer‘s worst nightmare is to discover copies of her original designs in ―fast fashion‖ stores like H&M, Zara, and Forever 21.3 In a typ- J.D. Candidate 2012, University of Minnesota Law School; B.A. 2008, St. Olaf College. Copyright © 2011 by Margaret E. Wade, J.D. Candidate 2012, University of Minnesota Law School; B.A. 2008, St. Olaf College. Many thanks to Professor William McGeveran for helpful advice and mentorship, and to the Editors and Staff of the Minnesota Law Review, notably Laura Arneson and Sharon Grawe for their helpful suggestions and thoughtful edits. Special thanks to Miriam Carlson for fashion design inspiration. Finally, deepest thanks to Marti Wade, Ann-Charlotte Wade, and David Sayre for their con- stant love and support. Copyright © 2011 by Margaret E. Wade. 1. See Cheryl Wischhover, The First Kate Middleton Knockoff Wedding Gowns and Accessories Hit Stores; Here Are the Good, the Bad and the Ugly, FASHIONISTA (May 2, 2011, 12:10 PM), http://fashionista.com/2011/05/check-out -the-first-kate-middleton-knockoff-wedding-gowns-and-accessories/; see also Now You Can Own a Kate Middleton Knockoff Ring, GAWKER (Nov.
    [Show full text]