After spending over a year mired in a lawsuit over red-soled shoes with Christian Louboutin, today Yves Saint Laurent filed a motion to dismiss the remainder of the case.
Louboutin initiated the legal battle in April 2011 when it tried to block sales of a YSL monochromatic red pump, claiming it infringed on Louboutin's 2008 trademark, which protects its signature red soles against copycats. After a judge barred the attempted injunction, Louboutin moved to appeal the decision.
This September, a New York federal appeals court upheld the previous ruling, backing Yves Saint Laurent's right to sell its all-red shoe. The court even went further by narrowing Louboutin's trademark: the footwear brand's competitors are now barred from manufacturing shoes with a red sole only when the upper is in a contrasting color.
Today, YSL moved to withdraw its counterclaims against Louboutin. Yves Saint Laurent attorney David H. Bernstein told The Fashion Spot his client was "thrilled" with the court's earlier decision and that since "there's no case for an injunction at all," it doesn't matter to Yves Saint Laurent's business whether or not they cancel the Louboutin trademark entirely. According to the press briefing, YSL made the decision to terminate the counter-litigation so it could "refocus its energies on its business and creative designs."
"A litigation is a terribly disruptive thing," Bernstein told us, "It's a distraction for everyone*. Parties are deposed so they have to spend all day in court, away from the design studio."
Bernstein says the counterclaim filing was a counter-offensive strategy. "The counterclaims were about defending ourselves against Louboutin… Now bear in mind, if Louboutin tries to come after us again in the future, we will absolutely look into refiling those counterclaims."
I just think that any lame attempt at humor on my part will pale in comparison to Chanel's new joke of a video.
Here's Brad Pitt's much-hyped spot for Chanel N°5. This is the first time a major brand has cast a male spokesperson to advertise a product for women — although, it's not clear which women this commercial is supposed to be targeting, because I've never met anyone of any gender that wouldn't think this was god-awful. While watching this moving picture monstrosity, bear in mind Pitt's $7 million contract with the French fashion brand and Chanel's reputation as a paragon of taste.
W Magazine celebrates four decades of magazine-ing with four covers: here's Kiera Knightley representing the 2000s. ScarJo, Rooney Mara, and Mia Wasikowska do the other decades. [Fashionologie]
Last night I had a dream that I was living in The Simpsons' Springfield, but on some other planet and I was madly in love and we were going to get married but then I found out our planet was heading toward an apocalypse and the best chance for our individual survival was to pretend we didn't even know each other, and I spent the rest of the dream wandering the aisles of some pre-apocalyptic Trader Joe's, crying. See a roundup of all the best wedding dresses that walked the Spring 2013 runways! [FabSugar]
This weekend someone asked what I was going to be for Halloween and I said, "A pineapple," and then she said, sounding really concerned, "But then how will anyone hug you?" Here are four non-spiky Halloween costumes that incorporate braids. [BellaSugar]
If you're going to shop the People StyleWatch Denim Awards, pick up a pair for me too, please. [SheFinds]
Can we even call Lana Del Rey’s music videos “music videos” anymore? Something about it just doesn't feel right. These videos tend to be so highly produced and epically long that “music video” feels diminutive. Lana Del Rey is making music mini-films. Her latest is for a song called “Ride” and the actual song is bookended by dramatic and poetic monologues. Whether you love her or hate her, Lana’s video will make you feel something.
“Good lord, just when I thought she had reached a peak with 'National Anthem'… 'Ride' is seriously mesmerizing, stunning footage and photography, beautifully written and produced, just one hell of a video,” Marc10 commented.
“Wow great video! She went beyond my expectations once again,” *ana* posted. “I think everything was very well done. She looks amazing, the styling fits her perfectly, the casting is great, and it has drama, humor, and rhythm. My special props to the director and director of photography.”
While some people complained that the intro and conclusion were unnecessary and that the song could have stood on its own, others argued that they enhanced the song’s message. “Read some complaints about the monologue of the video… I think it's beautiful, the storyline would have zero impact without it,” MulletProof argued. “I wonder if she's purposely (at least to me) hinting at Paris, Texas. Cause that's what sold me right away, that faded American ideal, which she masters there.”
Without the intro and conclusion, this would just be a music video. With them, it’s a mini-film that’s beautifully sad and vulnerable, and simultaneously triumphant. I become more convinced of the monologues' value each time I replay this little movie.
Vogue Portugal tends to get the short end of the stick, with lots of (often unfortunate) reprints from other editions and a lack of distinct identity. But, for its tenth anniversary issue, forum members are pleased to see that they’ve stepped it up. A red-clad Sara Sampaio poses prettily for the camera in a studio shot flanked by handwritten signatures rather than typeset captions.
“WOW this is my favorite Vogue Portugal ever!” exclaimed jmrmartinho, who hails from Portugal. “I wasn’t expecting much for the 10th anniversary issue because when they celebrated the 100th edition it was a flop, but this is amazing. I mean, Sara looks amazing, this is her third Vogue Portugal cover, but since she’s the most relevant Portuguese model it makes a lot of sense to have her on the 10th anniversary cover. I’m not the biggest fan of the signatures,” he admitted, “but it’s [Portugese] models, designers, artists, actors, and singers.”
“This image works perfectly with the signatures, and other text layout, and she looks beautiful, the styling is catching, it’s a nice cover,” Miss Dalloway commented.
“Oh, I adore this. The all red styling instantly captures your attention,” LagerfeldBoy admired. “I think the signatures add a little charming touch to this.”
After running out to purchase the issue, jmrmartinho wrote, “I have to say that this is their best issue ever… They changed the whole design of the magazine (looks a lot like Vogue Australia) and they have tons of invited editors and great original articles. All the editorials are original and there are quite a few, and all of them are great.”
You can’t ask for anything more from Vogue Portugal. Fingers crossed that this doesn't only happen once every ten years.
Last week, a tweet from Rihanna broke the news that she'd posed for the second Vogue cover of her career. Over the weekend, a scan of the promised issue showed up online (the TFS Forums credit the image to a Rihanna fanpage on VK.com, the "fast fashion" equivalent of Facebook in the Russian-speaking world).
This is another Annie Leibovitz production (Vogue is so good at fresh ideas) with some key differences: for this shot, Rihanna traded in her flowing red hair and sheer mermaid-cut Chanel dress for a black pixie cut and a little red Valentino number.
Even though I can't figure out why someone would wear Valentino in a wheat field, I do like the texture of the background, visually, and this does seem like a standout Vogue over (in that, it actually stands out and doesn't look like all the others). It's just, Vogue would be way better and more interesting if it weren't made by the same four people month after month after year after year — or if those four people would at least strive for some conceptual coherence.
Have you read the cover copy? The teaser text for Rihanna's interview is "I love to have fun," which is unbelievable because that's the most boring cover line I've ever read. Dear Vogue: if that's the most interesting thing Rihanna revealed to you, over the course of an entire feature interview, spare me.
The other cover lines include clever word play ("What to Wear Where") and under-the-radar cultural references ("Fifty Shades of Pink: Fashion's New Fetish"). Welcome to the freaking fun house.