DOCSLIB.ORG

A Comparative Study of Management of Mistakes in Cross-Cultural Marketing

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A Comparative Study of Management of Mistakes in Cross-Cultural Marketing UNIVERSITY OF LJUBLJANA SCHOOL OF ECONOMICS AND BUSINESS MASTER´S THESIS A COMPARATIVE STUDY OF MANAGEMENT OF MISTAKES IN CROSS-CULTURAL MARKETING Ljubljana, September 2020 KLEMEN AHMETOVIĆ AUTHORSHIP STATEMENT The undersigned Klemen Ahmetović, a student at the University of Ljubljana, School of Economics and Business, (hereafter: SEB LU), author of this written final work of studies with the title “A comparative study of management of mistakes in cross-cultural marketing”, prepared under supervision of doc. dr. Tamara Pavasović Trošt, PhD. DECLARE 1. this written final work of studies to be based on the results of my own research; 2. the printed form of this written final work of studies to be identical to its electronic form; 3. the text of this written final work of studies to be language-edited and technically in adherence with the SEB LU’s Technical Guidelines for Written Works, which means that I cited and / or quoted works and opinions of other authors in this written final work of studies in accordance with the SEB LU’s Technical Guidelines for Written Works; 4. to be aware of the fact that plagiarism (in written or graphical form) is a criminal offence and can be prosecuted in accordance with the Criminal Code of the Republic of Slovenia; 5. to be aware of the consequences a proven plagiarism charge based on the this written final work could have for my status at the SEB LU in accordance with the relevant SEB LU Rules; 6. to have obtained all the necessary permits to use the data and works of other authors which are (in written or graphical form) referred to in this written final work of studies and to have clearly marked them; 7. to have acted in accordance with ethical principles during the preparation of this written final work of studies and to have, where necessary, obtained permission of the Ethics Committee; 8. my consent to use the electronic form of this written final work of studies for the detection of content similarity with other written works, using similarity detection software that is connected with the SEB LU Study Information System; 9. to transfer to the University of Ljubljana free of charge, non-exclusively, geographically and time-wise unlimited the right of saving this written final work of studies in the electronic form, the right of its reproduction, as well as the right of making this written final work of studies available to the public on the World Wide Web via the Repository of the University of Ljubljana; 10. my consent to publication of my personal data that are included in this written final work of studies and in this declaration, when this written final work of studies is published. Ljubljana, ________________________ Author’s signature: _________________________ (Month in words / Day / Year, e. g. June 1st, 2012 TABLE OF CONTENTS INTRODUCTION ............................................................................................................... 1 1 THE IMPORTANCE OF CULTURAL UNDERSTANDING IN MARKETING 5 1.1 A New Age of Marketing..................................................................................... 5 1.2 National and Organizational Culture ................................................................ 6 1.3 Hofstede’s Cultural Dimensions ......................................................................... 8 1.4 Cultural Intelligence .......................................................................................... 12 2 CROSS-CULTURAL MARKETING MISTAKES ............................................... 14 2.1 The Why of Cross-Cultural Marketing Mistakes ........................................... 15 2.2 Categorization of Cross-Cultural Marketing Blunders ................................. 17 2.3 Strategies for Avoiding Cross-cultural Marketing Mistakes ........................ 19 3 METHODOLOGY .................................................................................................... 20 3.1 Research Purpose and Goals ............................................................................ 20 3.2 Research Design and Case Selection ................................................................ 20 3.3 Critical Analysis and Comparison ................................................................... 22 4 GUCCI: BLACKFACE CONTROVERSY ............................................................ 22 4.1 Description of the Blackface Advertisement ................................................... 23 4.2 The Troubling History of Blackface ................................................................ 24 4.3 The Role of Blackface in Modern Times ......................................................... 25 4.4 Media Reaction to Gucci’s Blackface Incident ............................................... 26 4.4.1 Social Media .................................................................................................... 26 4.4.2 Online Newspaper Outlets ............................................................................... 28 4.5 Company’s Response and Aftermath .............................................................. 30 4.5.1 The Apology .................................................................................................... 30 4.5.2 The Four step Action Plan and CSR ................................................................ 31 4.6 Effect on Sales .................................................................................................... 33 5 NIVEA:” WHITE IS PURITY” ADVERTISEMENT .......................................... 34 5.1 Description of Nivea´s Facebook Advertisement ............................................ 34 5.2 Background of the Affected Culture ................................................................ 35 5.3 Media Reaction .................................................................................................. 37 5.3.1 Social Media .................................................................................................... 37 i 5.3.2 Newspaper Articles ......................................................................................... 38 5.4 Company’s Response and Aftermath .............................................................. 40 5.4.1 The Apology .................................................................................................... 40 5.4.2 The Aftermath ................................................................................................. 42 5.5 Effect on Sales .................................................................................................... 43 6 DOLCE & GABBANA ADVERTISEMENT ......................................................... 44 6.1 Description of the “DG Loves China” Incident .............................................. 45 6.2 The Complexities of Doing Business in China ................................................ 45 6.3 Media Reaction .................................................................................................. 47 6.3.1 Social Media .................................................................................................... 47 6.3.2 Online Newspaper Outlets .............................................................................. 49 6.4 Company’s Response and Aftermath .............................................................. 51 6.4.1 Video Apology ................................................................................................ 51 6.4.2 The Aftermath ................................................................................................. 52 6.5 Effect on Sales .................................................................................................... 53 7 DISCUSSION AND IMPLICATIONS.................................................................... 53 7.1 Summary of Findings ........................................................................................ 53 7.2 Limitations of the Research .............................................................................. 56 7.3 Practical and Theoretical Implications ........................................................... 56 CONCLUSION .................................................................................................................. 59 REFERENCE LIST .......................................................................................................... 60 APPENDICES ................................................................................................................... 73 LIST OF FIGURES Figure 1: Hofstede´s dimensions of culture .......................................................................... 9 Figure 2: Five assumptions underlying Hofstede´s model according to McSweeney ........ 11 Figure 3: Low Context and High Context countries ........................................................... 12 Figure 4: Top 10 most valuable luxury brands worldwide in 2019 (in million US dollars) 23 Figure 5: The controversial sweater .................................................................................... 24 Figure 6: A vintage poster promoting a minstrel show ....................................................... 24 Figure 7: Popular cartoons and comics with racist imagery ............................................... 26 Figure 8: Gucci´s Twitter apology ...................................................................................... 30 Figure 9 :Likelihood of financial performance above national industry median % ............ 32 Figure 10: Gucci´s year-over-year sales growth ................................................................
Load more

Recommended publications
  • UCLA Electronic Theses and Dissertations
    UCLA UCLA Electronic Theses and Dissertations Title Exporting Mrs. Consumer: The American Woman in Italian Culture, 1945-1975 Permalink https://escholarship.org/uc/item/2kv6s20v Author Harris, Jessica Lynne Publication Date 2016 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Exporting Mrs. Consumer: The American Woman in Italian Culture, 1945-1975 A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in History by Jessica Lynne Harris 2016 © Copyright by Jessica Lynne Harris 2016 ABSTRACT OF THE DISSERTATION Exporting Mrs. Consumer: The American Woman in Italian Culture, 1945-1975 by Jessica Lynne Harris Doctor of Philosophy in History University of California, Los Angeles, 2016 Professor Brenda Stevenson, Co-chair Professor Geoffre W. Symcox, Co-chair “Exporting Mrs. Consumer: The American Woman in Italian Culture, 1945-1975” examines the development and growth of a mass consumer-based society in Italy after the Second World War. Employing a gendered and transnational approach, the dissertation puts women at the center of the analysis by specifically focusing on American female consumer culture’s influence on Italian women’s lives from 1945-1975. This study, in contrast to existing literature on the topic, provides a more comprehensive understanding of the nature of the models and messages of American female consumer culture in Italy during this period, how they influenced Italian women, and the extent of this culture’s influence. Furthermore, the analysis of the intersection of the modern “American woman” (the white middle-class suburban American ii housewife), consumerism, and Italian female culture and identities provides new insight into the unique cultural relationship between the United States and Italy following the Second World War.
    [Show full text]
  • Dolce & Gabbana's Communication and Branding Analysis
    FACE Business Case Dolce & Gabbana’s Communication and Branding Analysis Il presente lavoro è stato redatto grazie al contributo degli studenti del corso di Laurea Magistrale in Fashion Communication: Cristiana Avolio, Federica Fancinelli, Valentina Foschi, Veronica Rimondi e Camilla Tosi 1 The work aims to analyze the communication strategies of Dolce&Gabbana, one of the most famous brands on a national and international level, that has been able to create, within a varied audience, a global strong recognition. The fashion company was founded in 1985 by two designers: Domenico Dolce and Stefano Gabbana. 1. Zeitgeist and social context The inspiration of the designers Stefano Dolce and Domenico Gabbana comes from Sicily and the post-war neo-realist filmography, a land of perfumes and mysteries, a precious treasure chest of memories from which derive motifs destined to characterize each new collection. Surely their point of strength and recognition, both in lingerie and tailoring, is the black lace, a symbol of rigor and feminine sensuality; in fact the woman of Dolce & Gabbana, in balance between the modest and uninhibited, embodies the woman of our time with a strong and fragile personality at the same time, a concrete woman but also a dreamer. Protagonists of the fashion shows and the advertising campaigns are often the icon of the typical Italian beauty as: Bianca Balti, Monica Bellucci, Maria Grazia Cucinotta and Bianca Brandolini d'Adda. The Mediterranean woman becomes the point of reference and the muse of the two designers who highlight her shapes and her strong personality. For example, the bustier, as a synonymous for excellence of femininity that women, of all ages, have always used to outline and emphasize their bodies, recurs frequently in the brand pictures.
    [Show full text]
  • Dolce & Gabbana for Release: Dec 4, 2018. Milan, Italy Contact
    Dolce & Gabbana For release: Dec 4, 2018. Milan, Italy Contact: Alexandria Hawthorne Phone: (347)756-1655 DOLCE & GABBANA REPLACES MILLENNIALS WITH DRONES FOR FALL 2018 Domenico Dolce and Stefano Gabbana will be launching their Fall collection on Dec 4, 2018 in Milan, Italy. Get ready to experience a different level of runway at Sala delle Cariatidi @ Palazzo Reale. This season, design duo Domenico Dolce and Stefano Gabbana make a declaration of love to the industry with a Fall 2018 collection entitled Fashion Devotion. Catholic motifs are intrinsic to the Italian house, and for Fall 2018, Dolce and Gabbana is keen to give guests a deeper religious experience, with a show that will present fashion as a form of religion filled with ​angelic looks, sequined dresses with cherubs and mini-skirts with detailing that might as well have been taken from church ceilings, and bejewelled cross necklaces. Dolce & Gabbana’s identity is a mix of devotion, sheer creativity, religion, style and irony…The collection has it all, it’s an interesting play of contrasts. It pays tribute to pop culture icons, but also religion and the world of Catholicism. Dolce & Gabbana wants to celebrate their passion for fashion, which is their religion in a way. On the other hand, celebrate beauty, the ultimate “artifice” of fashion. Drones are the new angels of technology! This runway show is also meant as an homage to Dolce & Gabbana’s love for technology. ### Dolce & Gabbana was founded in 1985 by designers Domenico Dolce & Stefano Gabbana in Milan. Five years before the launch of the legendary Italian label, the two designers met in a workshop in Venice where they joined creative forces.
    [Show full text]
  • Just the Two of Us
    Domenico Dolce, left, and Stefano Gabbana describe their chemistry as a meeting of opposites egendary songstress Dusty Springfield emerges from a glass mural, a portrait of a Madonna — the original — is splashed across the back of a chair, and a huge porcelain rooster evokes the spirit of Sicily. Entering the vast private salon of Domenico Dolce and Stefano Gabbana on the top floor of their global Lheadquarters on a grim autumn day in Milan is like stepping on to a catwalk at one of their famously flamboyant shows. There’s an explosion of colour and a chaotic blend of classic Italian tradition with their own cutting edge inspired by the 60s, 70s and plenty of other eras as well. The walls are covered in crimson brocade and there’s more than a hint of art deco but perhaps most surprising are the floor- to-ceiling bookshelves filled with tributes to rivals such as Ralph Lauren, Tom Ford and Christian Dior. Yet this brash remake of the corporate boardroom seems a perfect introduction to the style icons who created Dolce & Gabbana nearly 30 years ago. Domenico Dolce and Stefano Gabbana are among the wealthiest men in Italy, cited in Forbes’ billionaire list of notable newcomers this year with a personal worth estimated at $US2 billion each ($2.1bn). Yet they enter the room without a flourish. Just the two of us Despite fighting a controversial sentence for tax evasion in the Italian courts, they are taking time out from their From humble beginnings, Domenico Dolce and Stefano Gabbana have latest collection to talk about their first store in Australia.
    [Show full text]
  • THE STYLE ISSUE the World's Wealthiest Clients Gather by The
    For Immediate Release: September 14, 2015 Press Contacts: Natalie Raabe, (212) 286-6591 Molly Erman, (212) 286-7936 Adrea Piazza, (212) 286-5996 THE STYLE ISSUE The World’s Wealthiest Clients Gather by the Mediterranean to Shop In the September 21, 2015, issue of The New Yorker, in “The Couture Club” (p. 76), Rebecca Mead reports from Portofino, Italy, where Dolce & Gabbana recently presented this year’s collection of Alta Moda—made-to-measure haute couture—by throwing an over-the- top, four-day event for an élite international clientele. Launched four years ago by Stefano Gabbana, fifty-two, and his business partner of thirty years, Domenico Dolce, fifty-seven, “Alta Moda consists of one-of-a-kind, made-to-measure pieces: virtuoso demonstrations of what can be achieved sartorially when the imagination of a designer and the spending power of his patron are given unconstrained ex- pression,” Mead writes. Since Alta Moda’s inception, the fall/winter collection has been shown outside of Milan. This year, Dolce and Gabbana threw the most ambitious Alta Moda getaway yet: a four-day weekend of fashion shows, dinners, and other festivities, culmi- nating in a dance party with a dress code of gold. “These people live in another world,” Gabbana—whose personal wealth, like Dolce’s, is estimated by Forbes to be more than a billion dollars—tells Mead, regarding the Alta Moda clients. “I don’t live in that world.” He adds that he was sometimes surprised by the extravagances that the clients took for granted. “I live in an apartment, I have three dogs, two cats— you know what I mean.” The Alta Moda presentation consisted of a fashion show in which ninety-four models each wore just one cou- ture outfit, which could then be purchased—at a starting price of around forty thousand dollars—by the first customer to lay claim to it after the show ended.
    [Show full text]
  • Sorelle Fontana and Hollywood on the Tiber: the Birth of the Modern Italian Fashion Industry 1949-1959
    Sorelle Fontana and Hollywood on the Tiber: The Birth of the Modern Italian Fashion Industry 1949-1959 Courtney Lyons Undergraduate Senior Thesis Department of History Barnard College, Columbia University Professor Joel Kaye April 7, 2021 Lyons 1 Table of Contents Acknowledgments……………………………………………………………………………..…..2 Introduction……………………………………………………………………………..…………3 Chapter One: The Beginnings of Italian Fashion……………………………………………...….9 Chapter Two: The Growth of Cinecittà Studios and Hollywood on the Tiber……………….….20 Chapter Three: Sorelle Fontana and Hollywood……………….………..…………………..…..31 Chapter Four: The Rise of the Modern Italian Fashion Industry………………………………..46 Conclusion ……………………………………………………………………………………....63 Images……………………………………………………………………………………………65 Bibliography……………………………………………………………………………………..68 Lyons 2 Acknowledgments First, I would like to thank Professor Joel Kaye, who I have been lucky enough to call my thesis advisor this past year. Through your detailed feedback and many informative sessions, you have pushed me to become a better writer and historian, and I will be forever grateful for that. Thank you for always embracing my love of scandalous pop culture history and making our research seminar the best part of my week. Thank you to Professor Lisa Tiersten, my academic advisor, for taking me on as a last-minute advisee and admitting me into your seminar, even though it was full. It was under your guidance that I have been able to foster my love of fashion history. I would also like to thank Professor Barbara Faedda, whose “Culture of Italian Fashion” course inspired me to write my thesis on the topic. Finally, to both the Barnard and Columbia History Departments, thank you. Every history course that I have taken during my time here has been a pleasure.
    [Show full text]
  • La Dolce Vita" Today: Fashion and Media
    City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 2-2017 "La Dolce Vita" Today: Fashion and Media Nicola Certo The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/1862 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] “LA DOLCE VITA” TODAY: FASHION AND MEDIA by NICOLA CERTO A master’s thesis to the Graduate Faculty in Liberal Studies in partial fulfillment of the requirements for the degree of Master of Arts, The City University of New York 2017 i © 2017 NICOLA CERTO All Rights Reserved ii “La Dolce Vita” today: Fashion and Media by Nicola Certo This manuscript has been read and accepted for the Graduate Faculty in Liberal Studies in satisfaction of the thesis requirement for the degree of Master of Arts Date Eugenia Paulicelli Thesis Advisor Date Elizabeth Macaulay-Lewis Executive Officer THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT “La Dolce Vita” today: Fashion and Media by Nicola Certo Advisor: Eugenia Paulicelli Federico Fellini’s La Dolce Vita is a cinematic masterpiece that has inspired nationally and internationally generations of creative people and artists because of the extent of its themes and because of the mastery in the choice of its costumes. The actuality of the director’s criticism towards the decadent society of his years, the originality of his stylistic choices, and his sophisticated taste for beauty and fashion, brought him to influence media and contemporary fashion then and now.
    [Show full text]
  • When Big Guns March In: Here's How Global Luxury Brands Are Helping Fig
    When big guns march in: Here's how global luxury brands are helping fig... https://www.newindianexpress.com/magazine/2020/may/03/when-big-gu... When big guns march in: Here's how global luxury brands are helping fight coronavirus surge By Manjul Misra Ever wondered what the world’s biggest brands are doing at a time when the world is under lockdown and nobody’s out buying their luxury goods? Plenty, actually. Forever since COVID-19 began sweeping the globe, and upending life as we know it, several of the world’s biggest luxury fashion, jewellery and beauty companies have come forward to join the relief efforts. While some are recalibrating their factories to produce face masks, hand sanitisers and medical gowns, instead of the usual luxury apparel, handbags and perfumes, others are donating millions to help hospitals buy medical equipment and to nonprofits reaching aid to the needy. Here’s a checklist, updated as of this week. LVMH: The owner of brands such as Louis Vuitton, Dior, Dom Pérignon, Givenchy, Guerlain, Bulgari, Moët & Chandon, Loewe and Fendi, has converted its perfume and cosmetic factories into those producing hand sanitisers for French public hospitals. It has also employed 300 additional artisans to make non-surgical face masks for individuals in need. RALPH LAUREN: In the largest donation yet by an American conglomerate to the COVID-19 fight, the brand has pledged $10 million to the WHO’s Solidarity Response Fund and the company’s Emergency Assistance Foundation (for its own employees and partners). The company is also manufacturing 2,50,000 face masks and 25,000 gowns for healthcare workers.
    [Show full text]
  • Interview in Style Magazine (Pdf)
    FASHION • Style ICON tant for the fashion market in the Uae? fashion during the day and also the evening. tributed to the charm of this magnificent SG: “We are really happy that this new Fashion makes women dream – this is the island that maintains its DNA despite the boutique will implement our presence in service that fashion provides. It is some- passing of time. We consider our collections Sicily is in our DNA Dubai. Our clients in the region love to shop thing wishful that communicates beauty.” as a continuous evolution, a laboratory of in their usual malls, so it was important ideas without forgetting our roots.” eXclUSiVe for us to have a presence at the Mall of the Q: Your high couture credo is summed Emirates.” up in the 3S motto that you espouse: Q: lots of celebrities, from beyoncé to dd: “The local market is a differentiated “Sicilian, Sartorial, Sensual.” is that the Monica bellucci to Madonna love your Mariella radaelli talks design and inspiration when she meets and certainly a dynamic market of great secret of your success? brand. but how do you manage to fasci- doMenico dolce and Stefano Gabbana at their office in milan importance both for us and the entire fash- dd: “The three ‘S’ motto is a summary of nate the average shopper? ion industry.” what we are and what we feel. Sicily is in dd: “We always liked the idea of dressing our DNA and represents all the heart and women from all over the world but main- Q: Your fall 2016 collection is a com- passion we put in everything we do, espe- tain our ideal woman and man when we To enter into the sensuous curves of a Dolce & Gabbana The iconic duo met in 1980 in the city of Milan when pendium of princess fairy tale fantasies.
    [Show full text]
  • Firmly Focused
    INTERNATIONAL TRADE SHOWS/SECTION II FACING STRONG HEADWINDS Marco WWD Bizzarri WEDNESDAY, NOVEMBER 16, 2011 Q WOMEN’S WEAR DAILY Q $3.00 Richard A. Baker Tom Murry Norma Kamali Carol Goll WWDBRAND 2011 CEO SUMMIT EVERYWHERE Victoria Beckham Firmly Focused From Calvin Klein to Victoria Beckham, Bottega Veneta to Lord & Taylor, speakers at the WWD Apparel & Retail CEO Summit at The Plaza hotel in New York discussed how sticking to their brand values have enabled them to thrive in these turbulent times of social media, a booming China and an ever-changing consumer. For complete coverage, see pages 10 to 19. Remo Peter Federico Ruffini Williams Marchetti Haider Ackermann ALL PHOTOS BY JOHN AQUINO ALL PHOTOS BY IN WWD TODAY Women’s Designer Lags at Saks PAGE 4 Burberry’s Flagship Raleigh Denim’s RETAIL: Reporting strong third-quarter Strategy PAGE 4 Local Taste PAGE 6 results, Saks Inc. admitted that women’s FINANCIAL: Angela Ahrendts, DENIM: Using old machines and USA cotton, designer apparel sales struggled — and Burberry’s chief executive officer, Raleigh Denim is thriving in North Carolina — expressed concerns about the category in said the opening of major flagships and has just opened a store in Raleigh, the fourth quarter. will fuel the firm’s future growth. with eyes to add a unit in Manhattan. 2 WWD WEDNESDAY, NOVEMBER 16, 2011 WWD.COM Wal-Mart Comps Rise, American Eagle Taps Hanson more than two decades with Levi Strauss & Co., Profit Falls 2.9 Percent By JEAN E. PALMIERI most recently as global president of the Levi’s brand, resigned from his position.
    [Show full text]
  • The Meaning of 'Made in Italy' in Fashion
    OPEN SECTION The meaning of ‘Made in Italy’ in fashion Simona Segre Reinach Abstract In this paper I set out to account for the transformations and specific features of Italian fashion within a broader scenario created by the globalisation of industry, markets and consumption. While a retrospective gaze may lead us to interpret Italian fashion as a phenomenon that has simply evolved in time, a closer examination reveals a development made up of continuity, but also of discontinuities. Continuity may be perceived in the production of quality fabrics and artisan competences scattered throughout Italy. The discontinuities highlight different fashion cultures, production and consumption marking the phases of its development. Introduction While a retrospective gaze may lead us to interpret Italian fashion as a phenomenon that has simply evolved over time, a closer examination reveals development that is made up of continuity, but also of discontinuities. Continuity is evident in the production of quality fabrics and artisan competencies scattered throughout Italy. The discontinuities are highlighted by varied fashion cultures, production and consumption marking the phases of its development. Present- day Italian fashion lacks the precise profile that it had in the past decades, but ‘Italian style’ is still recognisable. What exactly Italian style is, however, is not easy to grasp. In this essay, I suggest that understanding the concept of ‘Made in Italy’ in relation to Italian style requires research into the cultural history of Italian fashion and design, its ambiguities and historical evolution. This essay aims to account for the transformations and specific features of Italian fashion within the broader scenario created by the globalisation of industry, markets and consumption.1 The basic ingredients of Italian fashion were defined in 1981 in a special issue of Domus, the celebrated journal of architecture and design, which was devoted to fashion.
    [Show full text]
  • AMSL Lawyers COURT of MILAN PURSUANT to ART. 183, COMMA 6, C.P.C . (PROC. N. 50660/2019 R.G
    UNOFFICIAL ENGLISH TRANSLATION FOR REFERENCE (T AMSL Lawyers Via Zambianchi, 3 - Bergamo Tel. 035 212175 Fax 035 271110 O [email protected] COURT OF MILAN APPEARANCE AND ANSWER CONTAINING PRELIMINARY MOTIONS PURSUANT TO ART. 183, COMMA 6, C.P.C . (PROC. N. 50660/2019 R.G. - DOCTOR BORONI) In the interest of defandants LINDSEY SCHUYLER, residing in ________________, New York (U.S.A.), n. passport _____________, and TONY LIU, residing in ____________, New York (U.S.A.), n. passport _____________, represented and defended by attorneys Marco Amorese (CF MRLC77A10A794B) (email: [email protected] - fax 035271110) and Anna Orofino (CF RFNNA89A63A794N)(email: [email protected] - fax 035271110), (both of the Foro di Bergamo and with offices in Bergamo (BG), via Zambianchi n. 3, and electively domiciled office of the same, with the right power of attorney attached to this action, - defendants - AGAINST plaintiffs DOLCE & GABBANA S.R.L . (C.F. and P.IVA 09297890155), DOLCE & GABBANA TRADEMARKS S.R.L. (C.F. and- actorsP.IVA - 05817370967) and STEFANO GABBANA (C.F. GBBSFN62S14F205S), with attorneys C. Ferdinando Emanuele and Francesca Gesualdi - plaintiffs - 1 1. THEDIETSODA LL.C. is the company founded by Tony Liu and Lindsey Schuyler that manages the website www.dietprada.com and the Instagram account @DietPrada. 2. Diet Prada was born in 2014 with the idea of being a forum for commenting on the lack of originality in the world of fashion. It quickly becomes a new media-brand known for its frank approach in dealing with important issues in the sector and beyond. 3. Diet Prada soon stands out for its ability to highlight themes such as racism, cultural appropriation, misogyny, sexual harassment, and any topic affecting the fashion sector and its role in society.
    [Show full text]