The importance of copycatting trendy

  "What inspires you?" Is a standard issue in every designer Q & A, and more often than not, the interviewee

responds with name-dropping collection or a trendsetter in the past (the Pre-Raphaelites and 1984 Rei

Kawakubo especially high points on the scale score CRED). Designers love riff from the other, but when

referencing, remix, and inspired to "play homage to" turn into blatant copying?

Supreme, the label of choice aware of all the old style heads to skate, buttocks "borrow" open to other

people's ideas - starting with its logo. Futura Heavy Oblique white words on a red rectangular background

playing on the typography work of feminist conceptual artist Barbara Kruger. More than 20 years of history

Supreme Kruger never said a contradictory thing (until last week), but if streetwear label Married to the

Mob Men shirts published with "Supreme Bitch" on them in the same written police against the same red disc,

Supreme lost his composure quickly, registering a complaint for copyright infringement against them.

This is not the first time that brands have their legal briefs in a knot on the copyright. It was the famous

red soles shoe debacle between Christian Louboutin and Zara (and, later, Yves Saint Laurent), BCBG Max Azria

Group has a study of the mark on her Herve Leger bandage dress won, while the court battle Guess and Gucci

GG on is on garish bags powers.

Clothing has always been very referential. As rookie last week was very exhausted Riccardo Tisci dress Kimmy

K is strikingly similar to the Met Gala rip off of Supreme New Order, who took his inspiration from Henri

Fantin-Latour. You get the picture? The fashion industry thrives copy, hint at Afghan blankets editorials

strangely similar magazines that occur from time to time. The editors and most inspired dip their toes in

the archives of photographers who imitate the work of other artists on a regular basis. Why, there's even a

blog about it.

While other sectors such as music and movies have strict copyright protection in place, the mode is

notoriously difficult to regulate. These laws provide protection for clothes and accessories made

individually, but the protection of the mass-produced, ready-to-wear is much more limited. Moda Operandi

sites like Style.com and show motives, when they reach the bridge, so that chain stores like Forever 21,

Zara and Topshop, counterfeits before these drawings were made repeatedly in the pages of Vogue. A number of

Australian label I do buy Japanese nylon and open questions to reproduce the designs they are inside.

Miuccia Prada is well known, the flea markets in search of items that can introduce style search in our

directory. The copy is no longer endemic than ever before, and the situation becomes even more complex when

the designers are well established for players less known industry.

The problem with the copyright protection for a garment rights is that the creator has to prove his

originality. The nonlinear cyclical nature of fashion - where designers are constantly combine historical

references to what is seen on the road - in fact extremely difficult. How can you tell who had the idea

first? Chanel is not free on ballet shoes Prada foot-capped it? What can I say? Could twinset leakage

current season Elephant in imitation of Smoking Smoking Yves Saint Laurent, circa 1966 be? The clothes are -

at the end of the day - utility that changes the features and details that can not exist independently of

their functional aspects. There are only so many ways you can design a shoe platform or a strapless dress,

after all, can.

The phenomenal speed of the natural cycle of fashion and trends also require the need to copy. With pre-fall

and cruise collections a week now light fashion designers are encouraged to multiply up to six seasons per

year. The pressure of deadlines and profit margins to be taken that they are left with a minimum of time for

innovation.

Commentators also argue that the protection of copyright, the democratization of fashion in favor of

reversing a limited number of powerful designer, cashed-up with the means to protect their creations.

Currently, there are two types of consumers - the woman who buys the red carpet like Stella McCartney and

the woman who is going to buy its local replica Stella McCartney Portman. While stringent laws of copyright

would stop high-end models run stores in the chain, it would serve to limit the access of low-income people

the full range of trends.

Johanna Blakley as claimed receive free copying in the fashion industry was enormous. Why? Without copying,

there would be no trend. We, the things we love to respond by moving them - three times, that's all it

takes, they say. The look is more common, the more we are forced to look for something new and different.

And so the cycle continues. There is nothing very original to thrive in the world of fashion and industry.

Difficulty patrolling the copyright and the benefits it has to offer the free culture means that for once to

be imitators on a dirty rat is not a bad thing.