Thursday, 9 February 2023

The ‘MetaBirkins’ and the HERMÈS brand

 


Jury rules artist’s NFTs of ‘MetaBirkins’ violate Hermès’ trademark rights

 

New York jury rules against Mason Rothschild for selling digital copycat versions of the fashion house’s famous bags

 

The jury awarded Hermès $133,000 in damages for trademark infringement.

 

Erin McCormick

Thu 9 Feb 2023 00.18 GMT

https://www.theguardian.com/fashion/2023/feb/08/hermes-metabirkins-trademark-court-case-mason-rothschild

 

In one of the first cases to address the high-tech new art world of non-fungible tokens (NFTs), a New York jury ruled on Wednesday that an artist violated the trademark rights of the French fashion house Hermès by selling pictures of furry, copycat purses as NFTs.

 

The jury ruled that artist Mason Rothschild’s unauthorized versions of Hermès’s iconic Birkin bags, which the artist covered in fur, featured in an image collection he dubbed “MetaBirkins” and sold for a total of over $1m, were likely to confuse consumers.

 

The jury awarded Hermès $133,000 in damages for trademark infringement, dilution and a violation called “cybersquatting”, which involves registering or using a brand’s trademark in bad faith.

 

The jury found that Rothchild’s use of the bag’s likenesses did not constitute a protected form of speech under the first amendment.

 

Rothschild’s attorney Rhett Millsaps called the result a “terrible day for artists and the first amendment”. Representatives for Hermès did not immediately respond to requests for comment by Reuters.

 

The case has been closely watched for its potential to clarify how trademark law will apply to NFTs, which are unique tokens on blockchain networks often used to verify ownership of digital art.

 

Hermès prized leather Birkin handbags typically sell for tens of thousands of dollars each.

 

Rothschild portrayed the bags in 100 whimsical pieces showing purses covered in rainbow-colored shag fur or in green fur, wearing a red Santa cap.

 

Hermès sued, claiming the artist was simply “a digital speculator who is seeking to get rich quick by appropriating” the Hermès brand.

 

The “Metabirkins brand simply rips off Hermès famous Birkin trademark by adding the generic prefix ‘meta’, read the original complaint filed by Hermès in January last year, noting that the “meta” in the name refers to the digital metaverse now being pumped by technology innovators as the next big thing in tech profit-making.

 

Rothschild whose real name is Sonny Estival, compared his use of the bags with Andy Warhol’s portrayal of giant Campbell’s soup cans in his famous pop culture silk screens. He said his depictions of the bags were an absurdist comment on the excesses of the fashion world.

 

“I’m not creating or selling fake Birkin bags. I’m creating artworks that depict imaginary, fur-covered Birkin bags,” said Rothschild in a letter to the community after the case was filed.

 

Michelle Cooke, a partner at the law firm ArentFox Schiff LLP, who advises brands on these types of trademark issues, said the decision would be very meaningful to brands, as many have expressed interest in getting into the metaverse, where they might make money selling digital clothing that might be worn by avatars and the like.

 

“Unquestionably, this decision is an important win for Hermès and brand owners more generally,” she said on Wednesday. “We do not yet know what pushed the jury over to Hermès side. But one issue that they likely weighed was evidence indicating that Rothschild launched the MetaBirkins NFTs as a commercial venture,” more than an art project.

 

She said the fact the jury came with a decision after just one day of deliberation shows they found the issues clear-cut.

 

“The quickness of the decision also indicates that the jury was not hindered by the fact that NFTs were the medium at issue,” she said. “Instead, the jury seemed to find … that existing trademark laws are sufficiently elastic to protect brand owners’ rights as to NFTs.”

 

But she said the issue is likely to come up again as brands try to sell their products in the metaverse and artists continue to push the boundaries of new technological art types. This case might even end up being appealed, she said.

 

“There will continue to be tensions between brand and content owners in emerging digital environments,” she said.

 

Reuters contributed to this report

 



Are brands protected in the metaverse? Hermès and NFT artist spar in US court

 

Luxury retailer and creator of Birkin bag says Mason Rothschild’s MetaBirkin project has simply ripped it off and reaped the profits

 

Hermès claims the artist is simply ‘a digital speculator who is seeking to get rich quick by appropriating’ its brand.

 

Erin McCormick

Tue 7 Feb 2023 13.56 GMT

https://www.theguardian.com/fashion/2023/feb/07/hermes-nft-artist-birking-bag-metabirkin-new-york-court

 

Pictures of 100 Birkin bags covered in shaggy, multi-colored fur have become the focus of a court dispute that will decide how digital artists can depict commercial activities in their art and cast new light on whether brands are protected in the metaverse.

 

In the case, being heard this week in a New York federal courtroom, the luxury handbag maker Hermès is challenging an artist who sells the futuristic digital works known as NFTs or non-fungible tokens.

 

Artist and entrepreneur Mason Rothschild created images of the astonishingly expensive Hermès handbag, the Birkin, digitally covered the bags in fur and turned the pictures into an “art project”, which he called MetaBirkin. Then he sold editions of the images online for total earnings of more than $1m, according to court records.

 

Hermès promptly sued, claiming the artist was simply “a digital speculator who is seeking to get rich quick by appropriating” the Hermès brand.

 

The “Metabirkins brand simply rips off Hermès’s famous Birkin trademark by adding the generic prefix “meta”, read the original complaint filed by Hermès in January last year, noting that the “meta” in the name refers to the digital metaverse now being pumped by technology innovators as the next big thing in tech profit-making.

 

Allow and continue

Rothschild, whose real name is Sonny Estival, countered that he has a first amendment right to depict the hard-to-buy, French handbags in his artwork, just as Andy Warhol portrayed a giant Campbell’s soup cans in his famous pop culture silk screens.

 

“I’m not creating or selling fake Birkin bags. I’m creating art works that depict imaginary, fur-covered Birkin bags,” said Rothschild in a letter to the community after the case was filed. “The fact that I sell the art using NFTs doesn’t change the fact that it’s art.”

 

Many in the fashion industry have expressed interest in getting into the metaverse, where brands might make money selling digital clothing and accessories that can be worn and traded by electronic avatars.

 

“It will be a very meaningful case for the fashion industry,” said Michelle Cooke, a partner at the law firm Arentfox Schiff LLP, who advises brands on these types of trademark issues, but was not involved in this case.

 

“Their ability to control their brands in these digital spaces as much as they do in the real world will have significant implications about how much money they put into these new environments and how they enforce and protect their rights,” she said.

 

But, Cooke said, the case will, conversely, have big implications for a new generation of digital artists, in deciding how they can depict commercial activities in their art.

 

“We have a new wave of digital artists coming into existence and the benefit of an NFT is that it allows them to track and monetize their art in ways that they weren’t able to do before,” said Cooke, adding there may need to be new lines drawn as to how artists can pull from the commercial world to make an artistic statement. “So there’s tension.”

 

One hurdle that Hermès will have to overcome in the case is the fact that US trademark law requires brands to register their trademarks for each specific type of use, so digital sales might require a separate registration.

 

In the end, Cooke said the decision might come down to whether the jury believes Rothschild did the MetaBirkin project as an artistic project “or was it a money-making venture that he cast as an artistic project when he got into trouble”.

 

But she said, no matter the conclusion, the case was of such importance that it was likely to be a subject of argument for years to come.

 

“I will be shocked and amazed if it isn’t appealed,” she said.


Monday, 6 February 2023

Levi's Wokes - SNL / The sketch jokes that the pants can’t offend anyone because they “have no style” and fit every body because “they fit no body.”


The sketch jokes that the pants can’t offend anyone because they “have no style” and fit every body because “they fit no body.”

 

'SNL' Just Created the Pants the World's Been Waiting for - Sizeless, Identity-Free 'Woke' Jeans

 

By Colleen Kratofil  Published on October 2, 2017 12:28 PM

https://people.com/style/snl-levis-woke-jeans-sketch/

 

There’s been a lot of talk lately in the fashion industry about the influence of gender non-conforming clothing. Stars like Evan Rachel Wood and Jaden Smith are redefining conventional dressing on the red carpet. Designers are creating gender-less collections with men and women both modeling the season’s latest designs. And now there’s finally a pair of jeans that’s bending the gender norms to new heights all thanks to Saturday Night Live‘s new Levi’s parody, Woke Jeans.

 

In its new sketch, the show’s cast (with host Ryan Gosling) all model the sizeless, style-neutral, gender non-conforming denim made for a “generation that defies labels.”

 

The revolutionary pants have an exaggerated harem-style pant leg with a 180 degree full crotch zipper that comes in the undeniably neutral color, #greb.

 

The sketch jokes that the pants can’t offend anyone because they “have no style” and fit every body because “they fit no body.”

 

Gosling hosted the SNL season 43 opener episode with musical guest JAY-Z, where he reunited with La La Land costar Emma Stone during his monologue and couldn’t keep a straight face during a sketch with Kate McKinnon. He was accompanied by his wife Eva Mendes at the afterparty early Sunday morning.

 

If you have any doubt that Woke Jeans could ever become a reality, just take a look at SNL‘s other legendary denim sketch, Mom Jeans and all the celebs who are loving the look today.


Sunday, 5 February 2023

Jacques Garcia: A Sicilian Dream: Villa Elena

 


Jacques Garcia: A Sicilian Dream: Villa Elena

Author Jacques Garcia, Text by Alain Stella, Photographs by Bruno Ehrs

https://www.rizzoliusa.com/book/9782081513518

 

On the outskirts of the spectacular baroque town of Noto, Sicily, Jacques Garcia has transformed an ancient monastery into an abode of earthly bliss.

 

Celebrated interior designer Jacques Garcia invites readers inside his private residence in Sicily for the first time. The former monastery, rebuilt in Noto’s characteristic golden limestone, boasts spectacular salons that have been restored with a profusion of noble materials and techniques: colored marbles, flamboyant stuccowork, majolica tiles, damask silks, and velvets. Time stops in the elegant music room, decorated with embroidered silks and rococo-style mirrors that reflect the decor to infinity; the gilded dining room is hung with silk damask wall coverings and an eighteenth-century Murano chandelier and furnished with Chantilly porcelain and antique Italian rococo chairs. The grand marble salon features baroque paintings and a stunning collection of sculpture and Sicilian furniture.

 

The exquisite villa—surrounded by shaded terraces planted with towering cacti and succulents—attests to Garcia’s love of ancient civilizations and his masterful blending of Arabian, Norman, Renaissance, and baroque influences that converge in Sicily’s colorful history. The domain, dotted with ancient sculptures and reflecting pools, is graced with splendid panoramic views revealing the sea near Syracuse, a distant folly, a restored villa nestled in an ancient olive grove, and the decaying grandeur of a classical temple reconstructed with ancient fragments.

 









About The Author

Alain Stella has written numerous books, including Jacques Garcia: Twenty Years of Passion, Château du Champ de Bataille; Historic Houses of Paris; and French Wine Châteaux: Distinctive Vintages and Their Estates. Bruno Ehrs is an award-winning Swedish photographer whose work has been published in Vaux-le-Vicomte: A Private Invitation, Château de Villette, Villa Balbiano, A Day at Château de Vaux-le-Vicomte, and Chaumet: Parisian Jeweler Since 1780.

 

 

Publish Date: November 01, 2022

 

How Jacques Garcia restored the magnificent baroque interiors of his house in Sicily

 

The renowned interior designer's renovation of this former monastery in Noto is the subject of a new book from Flammarion, Jacques Garcia: A Sicilian Dream: Villa Elena. In this extract the author Alain Stella takes a look at the restored Grande Galerie, and how Garcia painstakingly brought back its original baroque glory after the space had been destroyed in the earthquake of 1693

 

20 October 2022

https://www.houseandgarden.co.uk/article/jacques-garcia-villa-elena

 

It is amusing to read Dominique Vivant Denon’s account of Noto in his Travels through Sicily and Malta. The artist, diplomat, art historian, and future director of the Louvre Museum expresses what an aesthete enamored of classicism thought about the rebuilt town: “It is a matter of regret here, as well as at Catania, that so much expense, and such splendid materials as those to be found at Noto, should have been laid out with so little judgment; and that a city almost new should, to the disgrace of the arts, be erected in such a manner, in an age, when there are such efforts made to study and imitate the beautiful models of simple, elegant, and well planned architecture.” Simple, noble, et sage: a far cry indeed from what was beginning to be called “baroque” at the time. The word derives from the Portuguese barroco, designating a pearl of irregular shape. For the enlightened lovers of the classical style, this extravagant, “irregular” architecture with its profusion of contrasting decorations, was indeed the “disgrace of the arts.”

 

And yet, in the land of Michelangelo and of St. Peter’s Basilica in Rome, of the Counter-Reformation and the Council of Trent that advocated the worship of saints, icons, and relics, art necessarily went hand in hand with the essentially irrational exaltation of passion and emotion; and also with a grandeur conceived as an offering, or an attempt—not without a sense of pathos—to get closer to heaven. With extraordinary dramatic genius, Bernini executed the commissions of Pope Urban VIII, including the monumental canopy over the high altar of St. Peter’s. Numerous baroque churches were being built in Rome, as were spectacular princely palaces, not least those of popes Urban VIII (Palazzo Barberini, the work of Bernini and his future great rival Francesco Borromini) and Innocent X (Palazzo Pamphili, by Carlo Rainaldi).

 

In Sicily, it took the earthquake of 1693 and the ensuing reconstruction for Sicilian baroque to flourish, especially from 1730, in an even more passionate style rich in influences that distinguished it from continental baroque. While the island was under Austrian rule (1718–34), churches and palaces were initially influenced by Viennese architecture, as can be seen in the Villa Palagonia in Bagheria, near Palermo. But Sicilian architects soon broke free from Austrian and even Roman influences and began designing buildings with exuberant ornamentation, full of stairs, columns, balconies, stone carvings, and statues, often in a rollicking polychrome mixture of marbles and majolica, behind curved façades. The island’s black volcanic rock was also used to create striking contrasts and enhance effects of light and shade. Into this decorative kaleidoscope, Sicilian baroque sometimes introduced touches of Norman Gothic—and also a Spanish influence during the reign of Charles III, King of Sicily and Jerusalem from 1735 to 1759, visible in the cathedral of Catania.

 

Villa Elena naturally embraced the prolific imagination of Italian baroque, which can today be admired in the majestic Grande Galerie, large enough to serve as a ballroom, or a throne room. When Jacques Garcia acquired the site, barns occupied this space—probably once the monastery’s main hall. Once he had recovered the room’s original volume, he drew inspiration for its decoration from the splendid baroque interiors of the three great Roman palazzi that he loves above all: Pallavicini-Rospigliosi, Doria Pamphilj, and Colonna. Setting eyes on its painted ceiling, on the profusion of ancient busts and vases, bronzes, antique marble door frames, tapestries, consoles, and eighteenth-century Italian chairs, one is indeed instantly reminded of those palaces. Everything here is reminiscent of Rome and the lavish lifestyle of its princely families.

 

To reinvent this majestic décor, Garcia began by designing the ceiling structure, which was determined by the presence of spread eagles: seventeenth-century Italian sculptures, which he had re-cast to punctuate the highly baroque cornices and decorative spurs edging the ceiling. The eagles are flanked by overdoors with recessed Greco-Roman busts—as in the Casino dell’Aurora at the Palazzo Pallavicini-Rospigliosi, whose vaulted ceiling carries Guido Reni’s famous Aurora fresco. Other fundamental elements that determined the décor as a whole were the three large portraits of Saint Helena dating from the seventeenth century, by a painter in Rubens’s circle. Acquired several years ago and recently listed as historical monuments in Italy, they hang at each end of the room—and gave the villa its name. Why this choice? Garcia likes to imagine that when, in the fourth century, Helena brought back a relic from the True Cross in Jerusalem to Rome, she came through Sicily. The villa thus pays tribute to the long journey undertaken by the mother of Emperor Constantine.

 

A series of other portraits hang in the Grande Galerie: several of cardinals of the Brancaccio family, dating from about 1700. The first, who lived in the twelfth century, was sent by Rome to Sicily to evangelize the island that had fallen to the Normans after the period of Arab rule. Below these portraits hang four large seventeenth-century Flemish tapestries depicting the romance of Mark Antony and Cleopatra. Dotted around the Grande Galerie, and sometimes moved around on the whim of the master of the house, are a bronze Laocoön Group by Luigi Valadier (late eighteenth century), an imposing statue of Athena from the fifth century BCE, two magnificent seventeenth-century Sicilian altar frontals in marble, and three cardinal’s thrones, among other pieces.

 

The decoration of the fireplace is typical of the great Roman palaces, whose owners always had one or two popes in their family; a chair for the pope was placed before the fireplace, its back more lavishly embroidered than the front. On each side of the fireplace hung a cushion on which to kneel before the Holy Father, and the traditional ombrellino that was held over him. Garcia has recreated this décor with period pieces. In front of the fireplace, he placed a fine seventeenth-century fire screen in old silk and gilt wood, also from a Roman palazzo, and acquired from an antique dealer in Palermo.

Thursday, 2 February 2023

The exclusive forms of education and the myth about the elite of Oxford/ Cambridge/ Eton/ Harrow/ To understand the Zahawi story and Tory sleaze, look no further than Britain's posh cliques.


To understand the Zahawi story and Tory sleaze, look no further than Britain’s posh cliques

John Harris

From the disgraced former party chair to the Richard Sharp investigation, government failure stems from a network of private schools and elite universities

 


Illustration by Matt Kenyon

 Illustration: Matt Kenyon/The Guardian

Sun 29 Jan 2023 08.33 EST

https://www.theguardian.com/commentisfree/2023/jan/29/elitist-leadership-zahawi-schools-britain

 

A country in deep crisis ought to at least have a government capable of governing; it is post-Brexit Britain’s unlucky fate to be run by an administration in a similar state of breakdown. The Tory party chair, Nadhim Zahawi, has been found to have committed a serious breach of the ministerial code and finally sacked. The investigation into bullying accusations against Dominic Raab, the deputy prime minister, is yet to conclude. Meanwhile, the latest story centred on Boris Johnson grinds on.

 

If it was a play, it would sit awkwardly between thriller and farce, with characters that were well drawn, and well connected. Johnson, we know: the financially incontinent prime minister who desperately needed an £800,000 “credit facility”. Then there is Sam Blyth, a “distant cousin” of Johnson and founder of a chain of Canadian private schools, apparently persuaded to be the then prime minister’s loan guarantor. The cast is completed by Richard Sharp, the former banker and Tory donor who is now the chair of the BBC, and Simon Case, Britain’s most senior civil servant. Questions now swirl around Sharp’s alleged dealings with the other three, in the weeks and months before he was appointed to his role at the BBC. Last Monday, Johnson said that Sharp “knows absolutely nothing about my personal finances – I can tell you that for ding-dang sure”. Over the weekend, the Sunday Times published a leaked letter reportedly handed to Johnson by Case: “Given the imminent announcement of Richard Sharp as the new BBC chair,” it said, “it is important that you no longer ask his advice about your personal financial matters.” We now await enlightenment about how both these things could possibly be true.

 

By way of shining a bit more light on this particular story, consider the backgrounds of the actors in it. Johnson, of course, was educated at Eton College and Oxford University. Sharp, whose father was the chairman of Cable & Wireless plc and became Baron Sharp of Grimsdyke, was a sixth former at the private Merchant Taylors’ school in north-west London, and also went to Oxford; his twin sister is the president of the King’s Bench Division of the high court. Sunak – who worked for Sharp at the investment bank Goldman Sachs – is another Oxford alumnus, and an old boy of Winchester College; Case went to the independent Bristol Grammar School, and Trinity College, Cambridge.

 

And so it goes on. Sharp’s appointment as BBC chair is being reviewed by the commissioner for public appointments, William Shawcross – another Old Etonian and Oxford graduate, whose daughter Eleanor (St Paul’s School for Girls, then Oxford) is Sunak’s policy chief. On the Sunday that the story first broke, Johnson and Sharp were defended on BBC One by Johnson’s sister Rachel Johnson, another former pupil of St Paul’s who went on to Oxford.

 

Meanwhile, questions about dealings between HMRC and Nadhim Zahawi – a comparatively lowly graduate of University College London, although he also spent time at private schools and is very wealthy – were being investigated by the government’s ethics adviser, Laurie Magnus, a former financier and “3rd baronet”, who is – guess what? – an alumnus of both Oxford and Eton.

 

To some extent, I have seen how these absurdly narrow cliques cohere, and why Britain – or rather England – still looks more like a weird fortified city-state than a forward-looking country. In 1989, I went to Oxford, having made it there from a comprehensive school and a state-sector sixth-form college. Then, as now, it was an institution that supposedly recruited and schooled the ruling class, but I quickly got the impression that the latest elite generation had already come into being, long before the relevant people had entered higher education.

 

Somewhere outside my social circles were people who had arrived at Oxford secure in the knowledge that they would be both comfortable in such grand surroundings and in touch with lots of people they already counted as friends (like a lot of state-educated students, I arrived there knowing no one at all). In a book titled The Oxford Myth, put together in 1988 by Rachel Johnson, Boris Johnson described “a loosely knit [sic] confederation of middle-class undergraduates, invariably public school, who share the same accents and snobberies, and who meet each other at the same parties”. He went on: “If you are a member of the establishment, you will know it. You cannot be recruited.” I saw this in glimpses: Jacob Rees-Mogg walking down Oxford High Street, dressed in his customary double-breasted suit; his fellow high-ups at the famous Oxford Union Society, who seemed old before their time, superficial and impossibly confident.

 

Last year saw the publication of the Financial Times columnist Simon Kuper’s superb book Chums, which was about two connected stories: the hatching of the idea of Brexit at Oxford, and the tale of how the Conservative party eventually ended the unbroken run of state-educated leaders that had gone from Ted Heath to Michael Howard. “In the 1980s,” Kuper wrote, “the upper classes were regaining the confidence that had been beaten out of them during Britain’s social democratic 1945-to-1979 era.”

 

For all Margaret Thatcher’s patina of petit-bourgeois meritocracy, he said, “during her reign, privilege and the right accent became something to be celebrated again”. You see this vividly in the infamous Bullingdon Club photograph featuring Johnson and David Cameron, taken at Oxford in 1987; two decades later, when Cameron became Tory leader, the renaissance of poshness and entitlement was complete. Kuper describes Cameron as “a quasi aristocrat who ruled the UK with a posh clique of school chums”, a way of doing things at least partly adopted by his latest successor: Sunak’s new “political secretary” is the former Times and Spectator writer James Forsyth, a schoolfriend from Winchester.

 

There have been two recurring themes in recent political history. Johnson crystallised a sense of rich and powerful people acting with assumed impunity; Sunak, the weak prefect, seems so accustomed to such behaviour that he can’t figure out how to stop it. But this story blurs into something even bigger: a chain of people safely bound into absurd networks of privilege have taken endlessly stupid decisions, knowing that their wealth and connections mean they will never have to worry about the consequences. This is the essential story of how we were led out of the European Union by such privately educated chancers as Johnson, Rees-Mogg, Nigel Farage, Dominic Cummings and the former Tory MEP Daniel Hannan. It also applies to the years of austerity instigated by Cameron, George Osborne and Nick Clegg.

 

The context for these tragedies remains as brazen and appalling as ever: at the last count, two-thirds of senior judges were privately educated, along with 51% of what the Sutton Trust charity calls “leading journalists”, and 52% of foreign office diplomats. The figure for Sunak’s cabinet is 65%.

 

We may break the conveyor belt that leads from private schools to the commanding heights of power with a simple change: ensuring that the intake of Oxford, Cambridge and all Russell Group universities reflects the proportion of people in the UK who are state educated (93%). I also wonder if it would be an idea to do what Kuper suggests, and turn Oxford and Cambridge into postgraduate institutions, ending “elite” undergraduate education altogether.

 

But obviously, there is so much more to do: put crudely, a huge process of reform and positive discrimination that would finally open up our institutions, and belatedly begin their transformation. Even as Britain tumbles, this conversation has barely begun. It ought to start with a blunt acknowledgment: that there is no way out of this country’s morass of failure and sleaze until all those circles of power and entitlement are finally pushed aside.

 

John Harris is a Guardian columnist