One Mo' Time

Have we beaten this to death? I mean the Copycat and the Original Cat, which I've already referred to twice before, here and here. But Randy Kennedy's item, "Photographer Wins Suit Against Designer," in the Arts Briefly column of The New York Times, revived the issue for me -- particularly his description of the plagiarism involved.

A French judge ruled that John Galliano's fashion ads "too closely mimicked a technique" created by William Klein. (An example of Klein's technique, right.) In other words, the plagiarism did not involve an exact image but rather the imitation of a style -- or as the Associated Press put it, "[the judge] said the ads clearly violated intellectual property laws because Galliano never asked Klein's permission to use the style, which the New York-born photographer developed more than a decade ago."

The parallels to the case of a Vik Muniz fashion spread in The New York Times Style Magazine, which imitated the technique and the imagery of the artist Norman O. Mustill, are so close that it's bizarre. Here's some of the evidence one more time, as quoted from the original Muniz-Mustill item of March 13, 2006:

Exhibit A: On the left, Mustill (from 39 years ago). On the right, Muniz (from three months ago). In this case, notice the exact material: tree branches within a human form in the context of a fashion statement and the referential hand.


And that's just Exhibit A.

Perhaps more bizarre than the "paraparallels" between Galliano-Klein and Muniz-Mustill is the fact that the dreadful former public editor of The Times never responded to my complaint. The editors of the NYT Style Magazine published the Muniz spread, undisturbed, and it's too damned expensive to sue.

Without seeing the incriminating Galliano ad spread, which I can't find online, I'm drawing conclusions based on words. If anybody has the spread, please let me or my staff of thousands know. It would be much appreciated. Here's a more detailed explanation of the ruling, from Le Monde.

May 17, 2007 11:08 AM |

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Me Elsewhere

'WILD SIDE' STILL ROCKS 

Nelson Algren was one of the great American authors of the 20th century, it is no exaggeration to say, and among the most neglected. Consider his underrated classic, "A Walk on the Wild Side." The title -- popularized and co-opted as an idiomatic phrase by Hollywood and Madison Avenue (institutions Algren loathed) -- is familiar to most anyone who speaks English or knows Lou Reed's lyrics. But the novel itself? Hardly.

BUSTER KEATON REVISITED 
Buster Keaton: Tempest in a Flat Hat is not a biography. "This book is merely a fan's notes," Edward McPherson writes in the introduction, although his publisher ignores the disclaimer and calls it a biography on the cover. In fact, the book is a bit of both, a difficult combination to bring off unless you're David Thomson, who set the standard with Rosebud, his penetrating rumination on the life and career of Orson Welles, which was nothing if not a distillation of every obsessive thought he ever had about the myth and the man and all his movies.
LAUREN BACALL, STILL SALTY AT 80 
When Lauren Bacall writes that her singing voice ranges "somewhere between B minus sharp and outer space," she's being candid and funny. It's not every stage star with two Tony Awards for best actress in a musical whose vocal talent offers so little promise. (OK, Harvey Fierstein excepted.) Still less would one admit it.
THE STARS ACCORDING TO BOGDANOVICH 
Peter Bogdanovich's superb collection of movie-star profiles and interviews -- a sequel to Who the Devil Made It, his interviews of top film directors -- begins with an affectionate tale about Orson Welles that reminds us just how intimate the author's connection to Hollywood's greatest has been. But contrary to what we've come to expect from dime-a-dozen celebrities and celebrity interviews not worth two cents, the tale avoids bromidic egotism and journalistic platitudes.
SAMMY'S WHITE DREAMS 
Four decades ago Lenny Bruce sentenced Sammy Davis Jr. to "30 years in Biloxi," stripping him of "his Jewish star" and "his religious statue of Elizabeth Taylor." Now we have two new biographies of Davis that spring him from ridicule, if not from doubts about his legacy, and restore a measure of dignity to a black entertainer whose huge fame and success never overcame his devout wish -- indeed his lifelong effort -- to be white.
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This page contains a single entry by Straight Up | published on May 17, 2007 11:08 AM.

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