https://www.copyrightevidence.org/wiki/index.php?title=Raustiala_and_Sprigman_(2006)&feed=atom&action=historyRaustiala and Sprigman (2006) - Revision history2024-03-29T15:20:56ZRevision history for this page on the wikiMediaWiki 1.34.2https://www.copyrightevidence.org/wiki/index.php?title=Raustiala_and_Sprigman_(2006)&diff=13033&oldid=prevNatacha at 07:37, 21 May 20202020-05-21T07:37:40Z<p></p>
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<tr><td class='diff-marker'>−</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>|Author=<del class="diffchange diffchange-inline">Kal </del>Raustiala; Sprigman, C. J.;</div></td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>|Author=Raustiala<ins class="diffchange diffchange-inline">, K.</ins>; Sprigman, C. J.;</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>|Title=The Piracy Paradox: Innovation and Intellectual Property in Fashion Design</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>|Title=The Piracy Paradox: Innovation and Intellectual Property in Fashion Design</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>|Year=2006</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>|Year=2006</div></td></tr>
</table>Natachahttps://www.copyrightevidence.org/wiki/index.php?title=Raustiala_and_Sprigman_(2006)&diff=12936&oldid=prevNatacha at 08:13, 19 May 20202020-05-19T08:13:14Z<p></p>
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<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>|Name of Study=Raustiala and Sprigman (2006)</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>|Name of Study=Raustiala and Sprigman (2006)</div></td></tr>
<tr><td class='diff-marker'>−</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>|Author=Kal Raustiala; <del class="diffchange diffchange-inline">Christopher Jon </del>Sprigman;</div></td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>|Author=Kal Raustiala; Sprigman<ins class="diffchange diffchange-inline">, C. J.</ins>;</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>|Title=The Piracy Paradox: Innovation and Intellectual Property in Fashion Design</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>|Title=The Piracy Paradox: Innovation and Intellectual Property in Fashion Design</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>|Year=2006</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>|Year=2006</div></td></tr>
</table>Natachahttps://www.copyrightevidence.org/wiki/index.php?title=Raustiala_and_Sprigman_(2006)&diff=12838&oldid=prevNatacha: Saved using "Save and continue" button in form2020-05-13T13:38:09Z<p>Saved using "Save and continue" button in form</p>
<table class="diff diff-contentalign-left" data-mw="interface">
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<td colspan="2" style="background-color: #fff; color: #222; text-align: center;">Revision as of 13:38, 13 May 2020</td>
</tr><tr><td colspan="2" class="diff-lineno" id="mw-diff-left-l10" >Line 10:</td>
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<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Why, when other major content industries have obtained increasingly powerful IP protections for their products, does fashion design remain mostly unprotected - and economically successful? The fashion industry is a puzzle for the orthodox justification for IP rights. This paper explores this puzzle. We argue that the fashion industry counter-intuitively operates within a low-IP equilibrium in which copying does not deter innovation and may actually promote it. We call this the piracy paradox. This paper offers a model explaining how the fashion industry's piracy paradox works, and how copying functions as an important element of and perhaps even a necessary predicate to the industry's swift cycle of innovation. In so doing, we aim to shed light on the creative dynamics of the apparel industry. But we also hope to spark further exploration of a fundamental question of IP policy: to what degree are IP rights necessary to induce innovation? Are stable low-IP equilibria imaginable in other industries as well? Part I describes the fashion industry and its dynamics and illustrates the prevalence of copying in the industry. Part II advances an explanation for the piracy paradox that rests on two features: induced obsolescence and anchoring. Both phenomena reflect the status-conferring power of fashion, and both suggest that copying, rather than impeding innovation and investment, promotes them. Part II also considers, and rejects, alternative explanations of the endurance of the low-IP status quo. Part III considers extensions of our arguments to other fields. By examining copyright's negative space - those creative endeavors that copyright does not address - we argue can we can better understand the relationship between copyright and innovation.</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Why, when other major content industries have obtained increasingly powerful IP protections for their products, does fashion design remain mostly unprotected - and economically successful? The fashion industry is a puzzle for the orthodox justification for IP rights. This paper explores this puzzle. We argue that the fashion industry counter-intuitively operates within a low-IP equilibrium in which copying does not deter innovation and may actually promote it. We call this the piracy paradox. This paper offers a model explaining how the fashion industry's piracy paradox works, and how copying functions as an important element of and perhaps even a necessary predicate to the industry's swift cycle of innovation. In so doing, we aim to shed light on the creative dynamics of the apparel industry. But we also hope to spark further exploration of a fundamental question of IP policy: to what degree are IP rights necessary to induce innovation? Are stable low-IP equilibria imaginable in other industries as well? Part I describes the fashion industry and its dynamics and illustrates the prevalence of copying in the industry. Part II advances an explanation for the piracy paradox that rests on two features: induced obsolescence and anchoring. Both phenomena reflect the status-conferring power of fashion, and both suggest that copying, rather than impeding innovation and investment, promotes them. Part II also considers, and rejects, alternative explanations of the endurance of the low-IP status quo. Part III considers extensions of our arguments to other fields. By examining copyright's negative space - those creative endeavors that copyright does not address - we argue can we can better understand the relationship between copyright and innovation.</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>|Link=https://papers.ssrn.com/sol3/papers.cfm?abstract_id=878401</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>|Link=https://papers.ssrn.com/sol3/papers.cfm?abstract_id=878401</div></td></tr>
<tr><td class='diff-marker'>−</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>|Reference=Plant (1934); Litman (1994); Merges (1996);</div></td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>|Reference=Plant (1934);Litman (1994);Merges (1996);</div></td></tr>
<tr><td class='diff-marker'>−</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>|Plain Text Proposition=Two interrelated models are proposed to explain the lack of IP protection in the fashion industry:</div></td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>|Plain Text Proposition=Two interrelated models are proposed to explain the lack of IP protection in the fashion industry:• “Induced obsolescence” – The status-symbol (or positional) nature of fashion goods results in a cyclical process of innovation. Lack of IP protection contributes to an accelerated disuse as these goods become more common (and therefore less desirable). Corresponding loss of positional qualities result in motivations for designers to innovate. • “Anchoring” – The fashion industry relies on communicating emerging themes (or styles) which necessarily results in copying to create trends. This ensures that each season’s innovation is defined around a limited number of designs, which both drive and focus consumption.The authors note no substantial doctrinal barriers which prevent IP protection in the fashion industry in either the EU or US. The conclusion is that the above noted models have created an equilibrium which does not incentivise industry members to change the status quo.</div></td></tr>
<tr><td class='diff-marker'>−</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div> </div></td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>|FundamentalIssue=1. Relationship between protection (subject matter/term/scope) and supply/economic development/growth/welfare,2. Relationship between creative process and protection - what motivates creators (e.g. attribution; control; remuneration; time allocation)?,4. Effects of protection on industry structure (e.g. oligopolies; competition; economics of superstars; business models; technology adoption)</div></td></tr>
<tr><td class='diff-marker'>−</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>• “Induced obsolescence” – The status-symbol (or positional) nature of fashion goods results in a cyclical process of innovation. Lack of IP protection contributes to an accelerated disuse as these goods become more common (and therefore less desirable). Corresponding loss of positional qualities result in motivations for designers to innovate. </div></td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>|EvidenceBasedPolicy=A. Nature and Scope of exclusive rights (hyperlinking/browsing; reproduction right)</div></td></tr>
<tr><td class='diff-marker'>−</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div> </div></td><td colspan="2"> </td></tr>
<tr><td class='diff-marker'>−</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>• “Anchoring” – The fashion industry relies on communicating emerging themes (or styles) which necessarily results in copying to create trends. This ensures that each season’s innovation is defined around a limited number of designs, which both drive and focus consumption.</div></td><td colspan="2"> </td></tr>
<tr><td class='diff-marker'>−</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div> </div></td><td colspan="2"> </td></tr>
<tr><td class='diff-marker'>−</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>The authors note no substantial doctrinal barriers which prevent IP protection in the fashion industry in either the EU or US. The conclusion is that the above noted models have created an equilibrium which does not incentivise industry members to change the status quo.</div></td><td colspan="2"> </td></tr>
<tr><td class='diff-marker'>−</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>|FundamentalIssue=1. Relationship between protection (subject matter/term/scope) and supply/economic development/growth/welfare, 2. Relationship between creative process and protection - what motivates creators (e.g. attribution; control; remuneration; time allocation)?, 4. Effects of protection on industry structure (e.g. oligopolies; competition; economics of superstars; business models; technology adoption)<del class="diffchange diffchange-inline">,</del></div></td><td colspan="2"> </td></tr>
<tr><td class='diff-marker'>−</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>|EvidenceBasedPolicy=A. Nature and Scope of exclusive rights (hyperlinking/browsing; reproduction right)<del class="diffchange diffchange-inline">,</del></div></td><td colspan="2"> </td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>|Discipline=K00: General, L10: General, O34: Intellectual Property and Intellectual Capital</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>|Discipline=K00: General, L10: General, O34: Intellectual Property and Intellectual Capital</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>|Intervention-Response=The positional and status-based nature of fashion may also be present in other creative industries, and ergo similar effects may exist there (e.g. in the music industry). Due to the strong position of creators in these industries, it is possible that objective incentives are not necessary, as constant innovation is still exhibited. Paradoxically, it may be the case that lower levels of protection better serve these industries than higher levels.</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>|Intervention-Response=The positional and status-based nature of fashion may also be present in other creative industries, and ergo similar effects may exist there (e.g. in the music industry). Due to the strong position of creators in these industries, it is possible that objective incentives are not necessary, as constant innovation is still exhibited. Paradoxically, it may be the case that lower levels of protection better serve these industries than higher levels.</div></td></tr>
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<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>|Method of Analysis=Qualitative Analysis Methods, Legal Analysis</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>|Method of Analysis=Qualitative Analysis Methods, Legal Analysis</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>|Industry=Creative, arts and entertainment; Specialised design;</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>|Industry=Creative, arts and entertainment; Specialised design;</div></td></tr>
<tr><td class='diff-marker'>−</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>|Country=<del class="diffchange diffchange-inline">European Community; </del>United States;</div></td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>|Country=United States;<ins class="diffchange diffchange-inline">European Union</ins></div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>|Cross-country=No</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>|Cross-country=No</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>|Comparative=No</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>|Comparative=No</div></td></tr>
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</table>Natachahttps://www.copyrightevidence.org/wiki/index.php?title=Raustiala_and_Sprigman_(2006)&diff=11634&oldid=prevAThomas: Saved using "Save and continue" button in form2018-01-23T12:25:52Z<p>Saved using "Save and continue" button in form</p>
<p><b>New page</b></p><div>{{MainSource<br />
|Source={{Source<br />
|Name of Study=Raustiala and Sprigman (2006)<br />
|Author=Kal Raustiala; Christopher Jon Sprigman;<br />
|Title=The Piracy Paradox: Innovation and Intellectual Property in Fashion Design<br />
|Year=2006<br />
|Full Citation=Raustiala, K. and Sprigman, C.J. (2006) The Piracy Paradox: Innovation and Intellectual Property in Fashion Design. Virginia Law Review, Vol. 92, 1687-1777<br />
|Abstract=The orthodox justification for intellectual property is utilitarian. Advocates for strong IP rights argue that absent such rights copyists will free-ride on the efforts of creators and stifle innovation. This orthodox justification is logically straightforward and well reflected in the law. Yet a significant empirical anomaly exists: the global fashion industry, which produces a huge variety of creative goods without strong IP protection. Copying is rampant as the orthodox account would predict. Yet innovation and investment remain vibrant. Few commentators have considered the status of fashion design in IP law. Those who have almost uniformly criticize the current legal regime for failing to protect apparel designs. But the fashion industry itself is surprisingly quiescent about copying. Firms take steps to protect the value of trademarks, but appear to accept appropriation of designs as a fact of life. This diffidence about copying stands in striking contrast to the heated condemnation of piracy and associated legislative and litigation campaigns in other creative industries. <br />
<br />
Why, when other major content industries have obtained increasingly powerful IP protections for their products, does fashion design remain mostly unprotected - and economically successful? The fashion industry is a puzzle for the orthodox justification for IP rights. This paper explores this puzzle. We argue that the fashion industry counter-intuitively operates within a low-IP equilibrium in which copying does not deter innovation and may actually promote it. We call this the piracy paradox. This paper offers a model explaining how the fashion industry's piracy paradox works, and how copying functions as an important element of and perhaps even a necessary predicate to the industry's swift cycle of innovation. In so doing, we aim to shed light on the creative dynamics of the apparel industry. But we also hope to spark further exploration of a fundamental question of IP policy: to what degree are IP rights necessary to induce innovation? Are stable low-IP equilibria imaginable in other industries as well? Part I describes the fashion industry and its dynamics and illustrates the prevalence of copying in the industry. Part II advances an explanation for the piracy paradox that rests on two features: induced obsolescence and anchoring. Both phenomena reflect the status-conferring power of fashion, and both suggest that copying, rather than impeding innovation and investment, promotes them. Part II also considers, and rejects, alternative explanations of the endurance of the low-IP status quo. Part III considers extensions of our arguments to other fields. By examining copyright's negative space - those creative endeavors that copyright does not address - we argue can we can better understand the relationship between copyright and innovation.<br />
|Link=https://papers.ssrn.com/sol3/papers.cfm?abstract_id=878401<br />
|Reference=Plant (1934); Litman (1994); Merges (1996);<br />
|Plain Text Proposition=Two interrelated models are proposed to explain the lack of IP protection in the fashion industry:<br />
<br />
• “Induced obsolescence” – The status-symbol (or positional) nature of fashion goods results in a cyclical process of innovation. Lack of IP protection contributes to an accelerated disuse as these goods become more common (and therefore less desirable). Corresponding loss of positional qualities result in motivations for designers to innovate. <br />
<br />
• “Anchoring” – The fashion industry relies on communicating emerging themes (or styles) which necessarily results in copying to create trends. This ensures that each season’s innovation is defined around a limited number of designs, which both drive and focus consumption.<br />
<br />
The authors note no substantial doctrinal barriers which prevent IP protection in the fashion industry in either the EU or US. The conclusion is that the above noted models have created an equilibrium which does not incentivise industry members to change the status quo.<br />
|FundamentalIssue=1. Relationship between protection (subject matter/term/scope) and supply/economic development/growth/welfare, 2. Relationship between creative process and protection - what motivates creators (e.g. attribution; control; remuneration; time allocation)?, 4. Effects of protection on industry structure (e.g. oligopolies; competition; economics of superstars; business models; technology adoption),<br />
|EvidenceBasedPolicy=A. Nature and Scope of exclusive rights (hyperlinking/browsing; reproduction right),<br />
|Discipline=K00: General, L10: General, O34: Intellectual Property and Intellectual Capital<br />
|Intervention-Response=The positional and status-based nature of fashion may also be present in other creative industries, and ergo similar effects may exist there (e.g. in the music industry). Due to the strong position of creators in these industries, it is possible that objective incentives are not necessary, as constant innovation is still exhibited. Paradoxically, it may be the case that lower levels of protection better serve these industries than higher levels.<br />
|Description of Data=This study comprises of an analysis of IP protection in apparel designs, including an industry overview, and case/statute analysis. Two economic models are proposed to explain the low-IP equilibrium of the industry.<br />
|Data Type=Secondary data<br />
|Method of Collection=Qualitative Collection Methods<br />
|Method of Analysis=Qualitative Analysis Methods, Legal Analysis<br />
|Industry=Creative, arts and entertainment; Specialised design;<br />
|Country=European Community; United States;<br />
|Cross-country=No<br />
|Comparative=No<br />
|Government or policy=No<br />
|Literature review=No<br />
}}<br />
|Dataset=<br />
}}</div>AThomas