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Converse in bid to ban ‘fake’ shoes in Sweden

Legendary US sneaker brand Converse has asked a Swedish court for permission to search outlets of Swedish retail chain Coop in a bid to clear near-perfect pirated copies of the iconic shoes off the shelves.

Published: 14 May 2013 09:15 CEST

Converse in bid to ban 'fake' shoes in Sweden

Swedish shop accused of selling 'fake' Converse shoes

Shoemakers Converse – whose canvas trainers are popular with Hollywood stars like Kristen Stewart as well as with hipsters and toddler-toting mums – noticed that Coop was selling its wares for about 399 kronor ($60), half of the usual retail price of 799 kronor ($120).

The company, which is owned by Nike, ordered some pairs and found the replicas lacked a number code that Converse uses to brand its genuine goods.

Converse has now filed papers to a Stockholm court, asking it be granted permission to search through five of Coop’s stores, in what is termed an investigative search warrant (intrångsundersökning).

The Svenska Dagbladet (SvD) daily has asked for comment from Coop, without a response.

Converse wants to get access to invoices that would lead them back to the supplier of the pirated shoes.

The company’s Swedish lawyers further stated they wanted access to Coop’s digital files in order to go through orders, deliveries, transport bills and other details that would “show the extent of the breach of Converse’s rights”.

Converse also wants to confiscate the replicas, which sport the brand’s logo.

The Converse trend in Sweden has taken off in recent years. SvD reported that while for Swedes white Converse were de rigeur, the Danes favour grey and the Finns go for red.

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French Vogue celebrates 100 years

French Vogue celebrates 100 years. Photo: Thomas Olva/AFP

But as well as celebrating the magazine’s storied history, the exhibit comes at a time of turbulence for the publication.

Just last month, it was confirmed that its editor of 10 years, Emmanuelle Alt, was out and wouldn’t be replaced.

She was not alone.

Looking to cut costs, owner Conde Nast International has axed editors across Europe over the past year, and put international Vogue editions under the direct control of global editorial director, Anna Wintour, in New York.

New York-based Anna Wintour now has overall control of French Vogue. Photo by Christophe ARCHAMBAULT / AFP

Like much of the media industry, Vogue is struggling with tumbling sales and ad revenue in the digital era.

But the latest twist is also part of the endless push and pull between New York and Paris going back to its early days.

“The whole history of French Vogue is one of back-and-forth with Conde Nast in New York – growing more independent for a while, then being reined back in,” said Sylvie Lecallier, curator of the new exhibition, “Vogue Paris 1920-2020″, which opened this weekend after a year’s delay due to the pandemic.

The Paris edition was often the loftier, more bohemian sibling to its more hard-nosed New York version.

But it was also the hotbed in which much of 20th century style and womenhood came to be defined.

“Paris was the place to hunt out talent and content and bring it to New York,” said Lecallier.

The exhibition charts the evolution from art deco drawings of the 1920s through the erotic image-making of photographers like Helmut Newton in the 1960s and 1970s.

Its last peak was under editor Carine Roitfeld in the 2000s, who brought back a provocative Gallic identity by ridding the newsroom of foreign staff and becoming a fashion icon in her own right.

Her successor, Alt, was a quieter presence, though she still oversaw key moments including its first transgender cover star, Brazilian Valentina Sampaio, in 2017.

But internet culture has created “a perfect storm” for Vogue, says media expert Douglas McCabe of Enders Analysis.

“The first 80 years of Vogue’s life, it had the market to itself, it was the bible for fashion,” McCabe told AFP.

“But online today, there are so many other ways to get your information. Influencers, Instagram, YouTube — everyone’s a threat.”

In a world where new fashion trends can blow up around the world in seconds, it has become much harder for a monthly magazine to set the pace.

“It’s not that they can’t survive for another 100 years — but they will be differently sized,” McCabe said.

Vogue has tried to branch out into different areas, including events.

“I used to work for a magazine, and today I work for a brand,” Alt said on the eve of French Vogue’s 1,000th issue in 2019.

But the big money was always in print, and Vogue Paris sales are dropping steadily from 98,345 in 2017 to 81,962 to 2020, according to data site ACPM.

It is perhaps unsurprising that the new top job in Paris, redefined as “head of editorial content”, went to Eugenie Trochu, who was key to building the magazine’s online presence.

She declared herself “thrilled to be part of Vogue’s international transformation”.

For the curator of the exhibition, it is ironic timing.

“We had no idea it would end like this when we started work on the exhibition,” said Lecallier.

“Who knows where it will go from here.”

The exhibition Vogue Paris 1920-2020 is at the Palais Galliera in Paris’ 16th arrondissement. The gallery is open 10am to 6pm Tuesday to Sunday and is closed on Mondays. Tickets for the exhibition are €14 (€12 for concessions and under 18s go free) and must be reserved online in advance.

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