The IP Brief - November 2024
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Come one! Come all! The CJEU’s decision in Kwantum v Vitra
On 24 October, the CJEU endorsed the Advocate-General’s opinion in Kwantum v Vitra, opening the door for sweeping copyright protection for works of applied art within the EU, irrespective of the nationality of the author and whether the work qualifies for copyright protection in its country of origin.
The case originated from a preliminary ruling by the Supreme Court of the Netherlands in the context of a domestic copyright infringement case brought by Vitra against Kwantum. Vitra sells designer furniture and alleged that under Dutch and Belgian copyright law Kwantum, a budget furniture retailer, infringed its copyright in the ‘DSW’ chair. The ‘DSW’ chair was originally designed by the well-known American designers Charles and Ray Eames. The Dutch Supreme Court decided to stay the domestic proceedings and refer various questions to the CJEU, which centred around the scope of copyright protection under the InfoSoc Directive (EU Directive 2001/29) and its interaction with the Berne Convention (“BC”).
The BC is a key treaty governing the international application of copyright law, which requires BC signatory states (“BC States”) to adopt certain minimum protections for artistic and literary works. It provides that, as a general rule, BC States are required to apply a principle of “national treatment”, with each BC State granting the same protection to authors (and their works) from another BC State as it provides to its own nationals.
However, Article 2(7) BC makes a key exception to this general principle, specifically for works of applied art. Under Article 2(7), where a work of applied art is protected in its country of origin solely as a design or model (as is the case in the US), then such work is only entitled to this same level of protection in other BC States (the so-called "material reciprocity test”).
The US and all EU member states (“EU MSs”) (including the Netherlands and Belgium) are signatories to the BC and, whilst the EU itself is not a signatory, it is still bound to comply with its provisions under the TRIPS Agreement and the WIPO Copyright Treaty.
Applying the BC’s material reciprocity test, Kwantum argued that Vitra could not rely on copyright protection in the Netherlands and Belgium because the ‘DSW’ chair did not benefit from copyright protection in the US, its country of origin. This submission ultimately led to the Dutch Supreme Court referring a number of questions to the CJEU, the key one being whether EU law precludes EU MSs from applying the material reciprocity test.
The CJEU concluded that it does. In reaching this conclusion, the CJEU focussed its attention on the InfoSoc Directive and the EU Charter of Fundamental Rights. Its starting point was to consider whether the InfoSoc Directive applies to works of applied art which originate from, and whose author is a national of, a country outside the EU. And it found that it did. As long as the relevant subject matter qualifies as a “work” under EU law, the CJEU said it must qualify for copyright protection.
The CJEU then went on to consider whether the provisions of the InfoSoc Directive precluded EU MSs from applying the material reciprocity test in their national laws. Again, it found that it did. In its opinion, allowing individual EU MSs to apply the material reciprocity test would undermine the InfoSoc Directive’s objective of harmonising copyright within the EU, as works of applied art originating from third countries might be treated differently in different EU MSs. The CJEU also noted that, as IP protection is a fundamental right under the Charter, the EU legislature itself has the exclusive ability to create exceptions to copyright protection based on the country of origin of a work or the nationality of its author. The list of exceptions set out in the InfoSoc Directive is exhaustive and does not contain a limitation of material reciprocity, nor one based on the country of origin of the work or the nationality of its author. Indeed, the CJEU placed weight on the fact that some EU Directives (such as the Term Directive) explicitly do apply a material reciprocity test, but the InfoSoc Directive does not – it is entirely silent on the point. If, the CJEU concluded, the EU legislature had intended that EU MSs should retain the ability to apply Article 2(7), it would have expressly provided for this. It did not and therefore, by adopting the InfoSoc Directive, the EU legislature exercised EU MSs' competence not to apply the material reciprocity test under the BC.
What this means in practice is that EU MSs must provide copyright protection to all works of applied art that meet the harmonised criteria for copyright protection in the EU, regardless of the work’s country of origin or the nationality of its author.
This decision is consistent with the direction of recent EU jurisprudence and firmly establishes the EU as a haven of universal copyright protection. It will be received gratefully by rights holders, particularly those based outside the EU, e.g. in the US and in non-BC States, who may now be able to enforce copyright in the EU even where their works would not be afforded copyright protection in their country of origin. This reinforces the harmonisation of EU copyright law and has paved the way for a more uniform application of protection across EU member states.
That being said, this decision has not been received without criticism. Commentators have queried whether the CJEU has become too activist, determined to harmonise all aspects of copyright law, despite this never being the intention of the InfoSoc Directive. As noted above, the CJEU’s judgment is in part based on the silence of the InfoSoc Directive, rather than any express provision that precludes the application of Article 2(7). And, whilst the CJEU may have decided to infer something from this silence, it seems to have done so at the expense of certain express provisions of existing EU law, such as Article 17 of the Design Rights Directive and Article 96(2) of the Community Design Regulations, which, at least as things stand, provide that EU MSs are permitted to determine “the extent to which, and the conditions under which” copyright protection is afforded to designs (although we note that this wording has been removed from the revised design Directive and Regulation that have recently been published in the Official Journal of the EU (see further below)).
Here in the UK, copyright protection for works of applied art has long thrown up its own questions, a number of which have recently been considered by the Intellectual Property Enterprise Court in WaterRower v Liking. We’ll be taking a closer look at the implications of that decision, and the potential divergence between the UK and EU approaches to copyright for works of applied art, in our next edition of The IP Brief.
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This material is provided for general information only. It does not constitute legal or other professional advice.