Trademark Trial and Appeal Board Electronic Filing System. http://estta.uspto.gov
`ESTTA333315
`ESTTA Tracking number:
`02/20/2010
`
`Filing date:
`IN THE UNITED STATES PATENT AND TRADEMARK OFFICE
`BEFORE THE TRADEMARK TRIAL AND APPEAL BOARD
`91174169
`Defendant
`Matsuda & Co
`Anne Hiaring Hocking
`Law Office of Anne Hiaring
`711 Grand Ave Ste 260
`San Rafael, CA 94901
`UNITED STATES
`info@hiaringlaw.com, kristin@hiaringlaw.com, anne@hiaringlaw.com
`Defendant's Notice of Reliance
`Anne Hiaring Hocking
`info@hiaringsmith.com, ellen@hiaringsmith.com
`/annehiaringhocking/
`02/20/2010
`Applicant's NoR#5.Exs.Part-2[Exs.51-100].pdf ( 181 pages )(7712600 bytes )
`
`Proceeding
`Party
`
`Correspondence
`Address
`
`Submission
`Filer's Name
`Filer's e-mail
`Signature
`Date
`Attachments
`
`

`
`VALENTINO S.P.A. V. MATSUDA & CO.
`
`Opposition No. 9'1'1'74'1'69 (Parent)
`
`APPLICANT’S NOTICE OF RELIANCE NO. 5 UNDER 37 CFR §
`2.122§e[
`
`Exhibit 51
`
`

`
`Page 56!
`
`@!Le><isNe><is‘
`
`430 of 863 DOCUMENTS
`
`Copyright [993 Orange County Register
`Orange County Register (California)
`
`January 29, 1993 Friday MORNING EDITION
`
`SECTION: IMAGE; Pg. Q01
`
`LENGTH: 1024 words
`
`HEADLINE: THE NATURAL LOOK SPRINGS BACK;
`
`Stylists go straight back to the ‘dos of the late '60s and early ‘T05
`
`BYLINE: Lisa Lytle, The Orange County Register
`
`BODY:
`
`When hair stylists at the European spring ready—to-wear shows
`were thinking about letting the hair down. they weren'tjoking.
`
`Roller—tortured. sculpted ‘dos of recent years are yesterday's
`split ends.
`In their place are headfuls of free-spirited styles
`from the groovy late '60s and early '70s.
`
`Nowhere is this most evident than with center-parted, long,
`straight hair. The season's most ubiquitous style, which showed up
`in Milan and Paris in the collections of Gianni Versace, Genny,
`
`Basile, Complice and Mario Valentino is the easiest and
`least-expensive for young trend-watchers to copy.
`
`In Orange County. teens with long hair are going for the great
`divide. wearing them at clubs and parties with grunge clothes and
`clunky combat boots, or Sonny and Cher-type clothes.
`
`Quelle horreur for baby boomers who would rather keep their high
`school or college yearbooks shut.
`
`Big-hair fans rn.ight find it tough to adjust to Marcia Brady—type
`wispy ends framing the face, but there are enough variations on the
`theme:
`
`At Chanel, shouldeelenglh straight hair was divided in the middle
`and flipped slightly at the ends.
`
`No ends flew at Gianfranco Ferre. with hair plastered down and
`obviously goopcd for a slick, straight-from-the-pool, combed-through
`mode. Try running your fingers through that.
`
`Less gel went into center—parted styles at Rifat Ozbek. Hair was
`arranged island-girl style, soft, with gentle waves on a few stray
`strands. Sometimes, sections of hair were pulled up and anchored
`with flowers or clips. The effect was a mix of the innocent with
`the exotic and can be easily adapted for the weekend or an evening
`party.
`
`

`
`Page 562
`THE NATURAL LOOK SPRINGS BACK;Stylists go straight back to the ‘dos of the late '60s and early '70s Orange
`County Register (California) January 29. 1993 Friday
`
`Straight. long hair with a few slightly curly strands softened the
`center—part style at Byblos.
`
`Thin ribbon bands wrapped across the head hippie—style anchored
`Cindy Crawford's center-parted hair at Dolce & Gabbana.
`
`What didn't work: thick braids mixed with the great divide were
`not flattering at Chloe. even with the pretty faces of Claudia
`Schiffer and Beverly Peele. Leave this style to the runway.
`
`The center-part isn't for everyone. Dividing the hair slightly
`off-center is more flattering, said Robert Orosco, artistic
`director at the Christopher Perry salon in Tustin.
`
`Texture and volume are hallmarks of other spring hairstyles.
`
`The '70s shag. for example. gets an update with an uneven, thick
`fringe of hair peeking out at the ends. framing the neck and face.
`as shown at Callaghan.
`
`Famous New York hair stylist Frederick Fekkai likes the '90s
`shag longer but wispy. "Layers frame the ears with some pieces
`falling in front of it. and long layers in the back down to the
`shoulders. "
`
`Similar treatment is in order for other shorter styles. such as
`last year's popular "Single White Female" cut. which features with
`wisps of hair sticking out from the bottom. said Linda Marie
`Stella, hair consultant and stylist at Woodland Hills-based
`Sebastian International. a maker of salon beauty products.
`
`Check out the January cover of Elle magazine. featuring model
`Amber Valletta. whose hair is elfish. This is great beret hair,
`with the bangs poking out from under the hat.
`
`At the most extreme, the shortest haircuts remind us of Mia
`Farrow as Peter Pan.
`
`It's a terrific look for delicate faces. such as Lucie de la
`Falaise. the muse at Yves Saint Laurent.
`
`"Short hair has a lot of uneven layers coming out everywhere,"
`said Stella. wearing the short. layered cut herself. "You can
`achieve this with small hairpieces that you can glue to your hair.
`
`It's like attaching false eyelashes. "
`
`The hairpieces. which should match your hair color. stay
`attached for about three days, Stella said. After that, you'll be
`shedding like your favorite feline or canine.
`
`On the runways, more symmetrical hairpieces came into full play at
`Claude Montana. where they were chopped and used as long ponytails
`or face—framing chunks. evoking images of samurai warriors. Try
`this only if you are truly avant-garde and have the clothes to get
`away with it.
`
`Small Afro hairpieces were attached to the back of the heads of
`both black and white models at Krizia.
`
`At Jean-Paul Gaultier, hairpieces were sometimes woven to look
`like a basket or exaggerated in parody to become skirts or bra cups.
`
`

`
`Page 563
`THE NATURAL LOOK SPRINGS BACI-{;Stylists go straight back to the ‘dos of the late '60s and early '70s Orange
`County Register (California) January 29, 1993 Friday
`
`Short hair at Versace was soft wiih‘Botticelli curls. Tendiils
`
`fell haphazardly at the neck, as though models just tumbled out of
`bed. Long hair was voluminous and crimped. then sometimes tied into
`sections.
`
`These textured styles are accentuated even more with color.
`
`"Hair has bold strokes ofdark and light that are obvious but
`not in a garish way," said Louis Licari. a leading colorist and
`owner of the Louis Licari Color Group, with salons in New York and
`Beverly Hills.
`
`Not all hair trends are free~spirited.
`
`Some of the most wearable modes appeared at Complice, Yohji
`Yamamoto. Giorgio Armani and even Versaee. Hair was combed to the
`side or back, covering a sliver of the forehead, or away from the
`face and sprayed into place.
`
`These styles are now on the covers of Harper's Bazaar for
`January and Town and Country for February.
`
`As for the matted, messy grunge hair on the runways of New York,
`Licari gives the shake ofa head.
`
`"It's not really wearable fashion," Licari said. "It doesn't
`make you look your prettiest. "
`
`GRAPHIC: COLOR PHOTO; BLACK & WHITE PHOTO; Deja vu; Borrowed frotn the '70s; free-falling straight
`hair, thin eyebrows, fake eyelashes and glossy lips.(COLOR) (Q01) (Anderson); Crocheted vest ($ 78) and Dayne Du-
`vall necklace ($ 214) at Giorgio Beverly Hills. South Coast Plaza. Model; Alicia Rickterl Brand Hair; Linda Marie
`Slellal Sebastian International Makeup; Jocelyn Zaycol Sebastian International; Hairpieces used to frame the face or as
`a ponytail evoked images of samurai warriors at the Claude Montana spring collection in Paris. (Gould)(B &W)
`
`LOAD-DATE: March 12, 1997
`
`

`
`VALENTINO S.P.A. V. MATSUDA & CO.
`
`Opposition No. 9I1'741’69‘(Parent)
`
`APPLICANT’S NOTICE OF RELIANCE NO. 5 UNDER 37 CFR §
`2.122] e]
`
`Exhibit 52
`
`

`
`14TH STORY of Level 1 printed in FULL format.
`
`PAGE
`
`7
`
`Copyright 1992 The Houston Chronicle Publishing Company
`The Houston Chronicle
`
`November 12, 1992, Thursday, 2 STAR Edition
`
`SECTION: FASHION; Pg.
`
`3
`
`LENGTH: 149 words
`
`HEADLINE: Whose ZOO are you?
`
`EYLINE: LINDA GILLAN GRIFFIN; Staff
`
`BODY:
`
`Probably the only time in the history of Homo sapiens that
`animal prints were more prevalent than today was when we lived in
`caves and wore the real thing.
`
`Take a stroll through any women's fashion store today, and
`you'll come away with the feeling that you're being stalked in a
`zoo of animals.
`
`tiger —~
`Leopard, cheetah, zebra, Holstein, snake, ostrich,
`they're all there,
`roaming on blouses, sweaters, bodysuits,
`tights
`and cocktail dresses.
`Some are in good taste; some are
`questionable; others are just plain silly.
`
`Prices vary from 59 cents for plastic leopard-print hair
`ornaments to thousands of dollars for designer ball gowns.
`
`some animal prints are well worth the money; some aren't
`worth a plugged nickel of anyone‘s fashion budget.
`
`But in the interest of sorting out which designers picked on
`which animals, here's a photo trip through the big game zoo.
`
`GRAPHIC: Photos: Fashion by: 1. Anna Sui (color); 2.Jean—Char1es de Castelbajac
`(color); 3.Christian Dior (color); 4. Todd Oldham (color); 5. Valentino (color);
`6. Perry Ellis (color); 7. Mario Valentino
`(color); 8. Chantal Thomass
`(color): 9. Adrienne Vittadini (color); 10.Krizia (color); 11. Yves Saint
`Laurent (color); 12. Complice (color); 13. Genny (color); 14.Bi1l Blass (color);
`15. Geoffrey Beene (color); All by Buster Dean/Chronicle, Betty
`Tichich/Chronicle
`
`

`
`VALENTINO S.P.A. V. MATSUDA & C0.
`
`Opposition No. 91174169 (Parent)
`
`APPLICANT’S NOTICE OF RELIANCE NO. 5 UNDER 37 CFR §
`2.122§e)
`
`Exhibit 53
`
`

`
`Page 568
`
`©!Le><isNexis'
`
`435 of 363 DOCUMENTS
`
`Copyright 1992 The Dallas Morning News
`THE DALLAS MORNING NEWS
`
`November 4, 1992, Wednesday. HOME FINAL EDITION
`
`SECTION: FASI-llON!DALLAS; Pg. IE
`
`LENGTH: 1264 words
`
`HEADLINE: MILAN: SPRING 1993 Bell-bottoms, hippies, Sonny and Cher. Sound familiar? Italian designers turn
`back the clock to the '70s
`
`BYLINE: Valli Herman
`
`DATELINE: MILAN
`
`BODY:
`
`The Flower Children have become parents -- and their kids
`are roarrling the runways of high fashion.
`
`The first clue came at the first show ofthe Milan collections -~
`
`Gianni Versace's presentation of his Signature line. There were
`hip-huggers. midriff tops. super-flare legs and bold. mod prints to
`tell the tale. And there was Axl Rose. Booming from speakers buried
`within the master's palazzo-turned-showroom came the sound of the Guns
`N‘ Roses singer reprising the 1973 Bob Dylan classic -- Knocl<in' on
`Heaven's Door.
`
`Thus was revealed the formula for the season: Take the classics.
`
`inject them with the fresh brashness of youth, use all the latest
`technology and make it simmeringly sexy. Axl did it, and so did
`Versace. Giorgio Armani. Domenico Dolce and Stefano Gabbana and the
`rest of the Milanese pack.
`
`Designers have been traveling through time and space to concoct a
`new spin on spring and summer clothes, shown recently in the Italian
`capital of high fashion. They resurrected, sometimes in exacting detail,
`the exuberant flamboyance of the late '60s and early '70s.
`
`Not every designer looked to have raided the wardrobe department of
`the Sonny and Cher Comedy Hour. But the references to the '60s and '70s
`did provide an opportunity to let loose a seam or silhouette and mix up
`the mini, midi and maxi lengths and shapes of the era.
`
`The retro remakes also delivered the final verdict on the question
`of hemlines: They dropped to the ankle or just above it in a major maxi
`revival, creating the season's strongest length message. But instead of
`looking dowdy, they're drop-dead sexy. Clingy knits. see-through maxi
`
`

`
`Page 569
`MILAN: SPRING I993 Bell-bottoms, hippies, Sonny and Cher. Sound familiar‘? Italian designers turn back the clock to
`the '70s THE DALLAS MORNING NEWS November 4, 1992, Wednesday, HOME FINAL EDITION
`
`shirts andEt_s'—_to'-there kept the flesh fiashiif and made themini
`look plain, simple and old.
`
`Designers also tasted the ethnic bouillabaisse of intricate Indian
`embroidery, Moroccan brocades, gypsy fringe and Latin peasant girl
`ruffles and prints.
`
`Fashion fantasy also appeared as the gossamer goddess, an airy
`confection of sheer fabrics stitched and spun anew in the '90s.
`
`While many of the ensembles pictured in this issue won't be
`duplicated on boutique shelves, the easily identifiable ‘60sI‘7Us trend
`and the multi-ethnic look probably will survive intact.
`
`Milan's contributions to next spring's styles shape up in a
`half—dozen major trends:
`it
`
`HIPPIE CHIC: Designers paid homage to tlte '60s and '70s, when the
`last Flower Children led America into bell-bottoms, happy flower-power
`prints, patchwork, platforms, Jimi Hendrix ruffled shirts and floppy
`hats with brims as big as the Flying Nun's. Complice used the entire
`career of the Beatles for its inspiration. The one pop idol who
`personified it all: Cher, in her "Sonny and’ years. Tltink midrifftops.
`bellybuttons, straight hair and fringe.
`
`in some collections, bellbottotrts gave way to [oose—|eg trousers and
`wide "eicphant' bells that were slashed up the sides for a sexy effect.
`
`Maybe your middle isn't ready for midriff tops, but if you wore
`bell-bottoms the first time around, it's not inconceivable that you
`could wear them now.
`=!=
`
`BARE TOPS: The '70s theme contributed the midriff top, most
`commonly paired with low—rise hip-huggers and, for the more modest
`woman, jackets and high-waist skirts. Other derivations brought out the
`halter, the bandeau and the bra top, in everything from lace to
`leather. The bare top appeared as the familiar, if not overexposed,
`bustier, and as the off-shoulder gypsy or ruffled peasant top. Versace
`almost single—handed|y brought about a wrap-top revival in his
`signature scarf prints. Bare tops aren't without a bit of coverage: A
`Salvatore Ferragamo striped knit midriff top comes with long sleeves.
`
`Leather master Mario Valentino wrapped supple suedes around the bust
`and created neat vests from die-cut suedes. Using the jungle as
`inspiration, Gianfranco Ferre crafted leather bustiers with body-baring
`cutouts. While designers barely covered the top, many buried forearms
`under stacks of bracelets or giant wrist cuffs.
`
`* E
`
`XOTIC ETHNIC: Milanese masters showed that ethnic clothing offers
`some of the most elaborate embroidery, the most sensuous silks and
`interesting new silhouettes. Armani, using Chinese, Turkish and
`Moroccan themes, took ethnic to its elegant extreme with a highly
`decorated collection of print skirts, fringed shawls and sequined
`sheaths with cropped jackets, flowing blouses and skirts, all cut from
`embellished fabrics. Franco Moschino cut a rare miniskirt from
`
`glittering tapestry fabrics, while Dolce & Gabbana crafted slim
`
`

`
`Page 570
`MILAN: SPRING 1993 Bell—bottoms, hippies. Sonny and Cher. Sound familiar‘? Italian designers turn back the clock to
`the ‘T05 THE DALLAS MORNING NEWS November 4, 1992, Wednesday, HOME FINAL EDITION
`
`trousers_and a vest from strips of Middle Eastern brocade. Ethnic
`overload showed up in a messy Missoni collection, yet the house's
`signature knits sometimes hit the mark. Even the classic Gucci found
`that a white shirt and jeans go ethnic with a fringed scarf wrapped
`about the hips.
`=1:
`
`MAJOR MAXI: Ifyou're still wondering if that long skirt thing is
`just a glitch on the trendometer. stop it. Barely a knee showed its
`patella in Milan, unless it poked from under a slit long skirt or a
`sheer gown. Byblos topped pantsuits with maxi jackets, or layered a
`sheer maxi shirt over trim trousers and under a hip-length tunic. The
`sexy sheath that was born years ago as a simple, knee—length chemise
`burst forth in all colors. two ultra-long lengths and one message:
`slither.
`
`Long skirts are no longer a statement just for after 5; now they're
`9-to—5 when paired with a tailoredjacket.
`1:
`
`GOSSAMER GODDESS: Narrow. ladylike shoulders that are often left
`bare now top a silhouette that flows and flares to the floor in
`gossamer fabrics. When a single layer of the airy fabrics is used, the
`effect is sheer, but in many cases, designers add layers for opacity.
`
`With the layers come a change in proportion, as many of the new skirts
`and gowns incorporate a mixture of layer lengths. Ferre, never one to
`be shy about his adoration of all things ultrafem, made his signature
`white blouse even more billowy and kept it sheer.
`
`One of the newest items to come from the flowing silhouette is a
`sheer maxi shirt, often worn over trim trousers, a long skirt or even
`shorts.
`
`* A
`
`PROPORTION IN LAYERS: Plunging hemlines sent reverberations
`through the atelier, where designers were compelled to make newly
`proportioned components for the wardrobe. Longer skirts for spring were
`balanced with croppedjackets or even hip-length tunics or vests. Rifat
`Ozbek teamed a bolero with a tailcoat and vest in decidedly different
`proportions, while the team at Genny crafted over-blouses and long
`tunics to hang under matching long jackets and maxi clusters. Armani
`took the concept to the limit with a peplum skirt worn over his classic
`trouser suits. He also put trousers gathered at the ankle under
`floor-length sheaths, for a sort of Milan-meets-Pakistan look that
`ultimately worked quite well.
`‘=i=
`
`THE PERENNIALS: The spring perennials of fashion are still in bloom. The little black dress emerged this season
`in long lengths and
`with hints of sheerness and ease. The all-white pantsuit appeared in
`innumerable variations of fabric andjacket shapes. Stripes in '70s
`variations or predictable nautical navy threaded through the
`collections in everything from bare tops to slinky jumpsuits and maxi
`vests. Jeans were a minor statement. but their mere presence on the
`runway gives them another season with the High Fashion Seal of
`
`

`
`Page 571
`MILAN: SPRING 1993 Be1l—bo1Ion1s. hippies, Sonny and Cher. Sound familiar? Italian designers turn back the clock to
`the "705 THE DALLAS MORNING NEWS November 4. I992, Wednesday. HOME FINAL EDITION
`
`Approval. Bathing suits with all manner of cutouts appeared, but were
`often paired with a coverup long enough to sweep the sand.
`
`GRAPHIC: PHOTO(S): I. Franco Moschino didn't suddenly discover the '70s: "This year everyone talks about the
`‘"105. I've been doing them since my first collection.‘ 2. Amid all the midriff tops, the wrist cuff became the accessory to
`have for designer Mario Valentino and others. 3. Versace's silk scarf“ the Miami version 4-50. Fashions by Italian de-
`signers at Milan fashion shows for spring 1993. (1-15. DMN: Evans Caglage)
`
`LOAD-DATE: December 28. 1992
`
`

`
`VALENTINO S.P.A. V. MATSUDA & CO.
`
`Opposition No. 91'1'741'69‘(Parent)
`
`APPLICANT’S NOTICE OF RELIANCE NO. 5 UNDER 37 CFR §
`2.122§e[
`
`Exhibit 54
`
`

`
`Page 579
`
`@' LexisNexis‘
`
`44” of 363 DOCUMENTS
`
`Copyright I992 Newsday. Inc.
`Newsday (New York)
`
`October 9. I992. Friday, NASSAU AND SUFFOLK EDITION
`
`SECTION: PART II/WEEKEND; MILAN: SPRING '93: Pg. 99
`Other Edition: City Pg. 83
`
`LENGTH: 1240 words
`
`HEADLINE:
`
`ringing a bell.
`
`BYLINE: By Frank DeCaro. STAFF WRITER
`
`DATELINE: MILAN
`
`BODY:
`
`SEVENTIES-style bellbottoms are back and Italian designers certainly have a flare for them. That's the news here.
`where those rival ragmen Gianni Vcrsacc and Giorgio Armani wrapped up the spring I summer ready-to-wear collec-
`tions last night.
`
`Whether tight to the knee then bursting into a bell (a la Versace), or wide getting wider down the leg (a la Emporio
`Armani ), the "pants everyone loves to hate," as W magazine dubbed them. are a hit as they flop around the runways.
`It's all about movement and softness. and such American retailers as Neiman Marcus‘ Joan Kaner and Bergdorf Good-
`man's Ellin Saltzman. say this could be the season they [ind a new audience. most likely with consumers who were too
`young to wear bells before.
`
`Versace's show certainly made a case for them. His bella bell—fest last night managed to be both totally sick (a
`compliment) and completely reserved. although rarely at the same time. There were bellbottom jumpsuits in layer upon
`layer of sheer fabrics; huge ruffled bells mixing multiple prints; elephant bells with petticoats underneath. and the most
`exquisite (really!) bias-cut flares and decollette tops in orchid, lime and other Miami colors. And his foot jewelry! An-
`kle bracelets chained to toe rings! Well. they'll be South Beach must—haves by March.
`
`Just as thrilling was Versace the minimalist. His expertly cut. flared long dresses were sexy and spare as could be.
`He showed these with no shoes orjewelry. focusing attention on the delicious shapes alone. So what if some models
`couldn't keep their chests from falling out of their tops.
`
`This is fashion.
`
`Armani thumbcd his nose at "705 revivalism, offering exotic fare without flares. He was off to various locales —
`Turkey. Morocco. Polynesia — for his inspiration and the result was luxuriously lovely. Best were his silky wide pajama
`pants in paisley or Bali native motifs; soft skirts wrapped like sarongs over cigarette—slim trousers, and those looks that
`layered a short jacket and vest over a long tunic and slim trousers. In a season of retro fashion. Armani stuck to his
`tasteful guns.
`
`Most said "Bravo."
`
`

`
`Page 580
`ringing a bell. Ncwsday (New York) October 9, I992, Friday, NASSAU AND SUFFOLK EDITION
`
`Palazzo pants, those mega-wide '70s soft pants, are a popular look in various collections. But the freshest bellbot-
`tom alternatives are pants that are slit up the sides or back. In her excellent show yesterday. German designer Iit Sander,
`for instance, showed bell—slceved knit tunics over back-slit trousers with lots of below-the-knee action. Sander also
`bared many a midriff and served up some nifty wing—collar blouses and long, see-through evening dresses that left little
`to the imagination.
`
`At Fendi, where spring! summer can seem an afterthought (it is a fur house), see—through meant spider webs of
`mesh for trousers and tops in burlappy linen.
`
`The folks at Gucci came up with some ofthe sexiest long dresses around. A black suede. halter evening dress had a
`gold bit closure (just like on Gucci's famous loafers) at the bosom. A one—shouldcred version and swimsuits using the
`signature gold bit were just as hot, hot. hot. There were lots of long sarong skirts in scarf prints (something we also saw
`in Versace's Signature, Versus and Istante collections). What fun to hear Gucci unearth Sister Sledge singing the im-
`mortal line "Halston, Gucci, Fiorucci" from its disco-era hit "He's the Greatest Dancer.“
`
`Prada did the '70s thing with barefoot-and-pregnant peasant skirts and tie-front bikini tops. Bikinis came in leather
`or were crocheted. (Calling Robin Byrd!) Bellbottoms had ropes of fringe from knee to ankle. Hotpants offered as much
`coverage as a Band-Aid and wedge—style platform sandals completed the look.
`
`At Complice, a line designed by Domenico Dolce and Stefano Gabbana, it was Beatlemania all over again, with
`this season's Fab Two finding their inspiration in the Fab Four. The best looks were off—the—sl1oulder ruffled lace
`blouses worn with jeans (not bcllbottoms); Mary Quant—era black-and-white stripes and typography prints for pantsuits
`and maxi dresses; pho1o—reproduccd Beatle print pantsuits, a pantsuit patterned after a bobby's uniform and a slew of
`Union Jack-patterned ensembles.
`
`As always, Franco Moschino, the bad boy of Italian fashion, was off on his own trip entirely. His humorously chic
`collection included newspaper—print pantsuits in pink and black, dresses embroidered to look as if they'd been splotched
`with spaghetti (these read "Sorry, I'm Italian"), and a jacket with the trim hanging off, suggesting the genteel wearer had
`just been in a major catfight. His photo-printed dresses are covered in geese, including one "si|ly goose" dress that says
`"I Love Fashion" on the front.
`
`As for beauty trends coming out of Milan, most models‘ hair was axe-parted and flat. Ironcd hair and big eyes, what
`else does a girl need? Bellbottoms.
`
`Exactly. frank says
`
`MADONNA AND GABBANA: "A small dinner party for Madonna at nine," they said. But Dolce & Gabbana‘s gran
`festa at Le Cinema earlier this week was really a big buffet at a Seventies-style discotheq ue. and our Porn Again scene-
`stealer didn't get there until 10:40. (Honestly, no receiving line, no place cards, no centerpiece to win .
`. .) Anyway, the
`gold-toothed hippie chick - floppy hat, palazzo pants and platforms — made a beeline for the dance floor to dance three
`songs with designers Domenico Dolce, Stefano Gabbana and models Naomi Campbell, Kristen McMenamy, Marpessa
`and Veronica Webb inside a ring of surly bouncers. Then, she held court for maybe an hour in the V.I.P. balcony, while
`beautiful people (and the beauticians responsible) gawked and mingled and shvitzed in their Vcrsace silk shirts and
`leather pants. Some intimate dinner. Next time, I'm across the table from her, or I'm going to Emporio Armani instead.
`
`FERRI BUSY: Industria SuperStudio, the giant photography complex owned by photographer Fabrizio Ferri, is quite
`the hive of Milan activity. On Wednesday, Gucci showed its ready—to-wear line (and unveiled Gucci clogs!) at this Ital-
`ian cousin of the Industria SuperStudio on Washington Street in Manhattan's meatpacking district. Ferri, you know,
`shoots Gucci's ad campaign. Braque, the SuperStudio's restaurant, is a fash—y dining spot, with photographers and mod-
`els chewing down on lime-flavored or zucchini flower risotto. Then there's a showroom for the new Industria Collection
`of minimalist clothes, carried in New York by such trendy retailers as Linda Dresner. Ferri, a burly bear-hug of a guy in
`velvet pants and a leather vest, took a moment the other day to show off a new book of watery nudes called ACQUA
`and an accompanying video for which he composed the music. The $ 50 tome should be out next month with proceeds
`going to fight AIDS in children. Cool.
`
`SBVENTIES SOMETHINGS: Just when you thought it was safe to hark back to the Forties, fashion goes mad for the
`hippie I disco decade. This week saw: modified Roseanne Roseannadanna hair at Krizia; Nik Ni k—esque Botticelli prints
`at Dolce & Gabbana; cork-soled platforms at Gianfranco Ferre; Gypsy skirts, Chokers and plunging necklines at Byblos;
`white ruffled halters at Genny; dotted elephant bells at Versus; bell-sleeved tunics at Jil Sander; and the return ofV.P.L.
`
`

`
`Page S81
`ringing a bell. Newsday (New York) October 9. 1992, Friday. NASSAU AND SUFFOLK EDITION
`
`(Visible Panly Line) V.E.. (virtually everywhere). Veronica Webb. wearing zebra-striped bellbouoms by designer
`Gaelano Navarra at the Madonna dinner. said it best: "In half the outfits, I feel like I'm in KISS."
`
`GRAPHIC: Photos-1) Asnakeskinjackel is paired with flaring pants, above in Mario Valentino's ready~lo-wear, all-
`lcathcr collection. 2) Hig-huggingjeans and a maxi dusl coat designed by Complice, right. 3) AP Pholo- Gianni Vcrsace
`and his models show off designs of the Versace Signature collection and youth line. 4) Photo-A modified Roseanne
`Roseanna-danna hairstyle by Krizia.
`
`

`
`VALENTINO S.P.A. V. MATSUDA & CO.
`
`Opposition No. 91'I741'69 (Parent)
`
`APPLICANT’S NOTICE OF RELIANCE NO. 5 UNDER 37 CFR§
`2.12216!
`
`Exhibit 55
`
`

`
`54TH STORY of Level 1 printed in FULL format.
`
`PAGE
`
`11
`
`Copyright 1992 Pacific Press Ltd.
`The Vancouver Sun
`
`October 8, 1992, Thursday, 1* EDITION
`
`SECTION: FEATURES; Pg. D2
`
`LENGTH: 714 words
`
`HEADLINE: Nostalgia with a vengeance
`
`BYLINE: BERNADINE MORRIS; NEW YORK TIMES NEWS SERVICE
`
`DATELINE: Milan
`
`BODY:
`
`the sheer delight in
`AS THE ECONOMY everywhere continues its downward spin,
`dressing up is put on hold. So how do Italian fashion designers cope? Bring on
`the costume party,
`they say.
`
`The icons of late 1960s and 1970s fashions have been marching down the
`runways at the spring and summer ready—to—wear shows. Make way for bell—bottom
`pants,
`flower power, neon colors and peasant blouses. Love—ins and happenings
`are just around the corner.
`
`"we have to go back to basic concepts like humanity and sensitivity," said
`Franco Moschino, Italy's favorite jokester, going serious. He didn't give up his
`jokes, however. A dress appliqued with geese bore the legend "I love fashion." A
`spilled plate of spaghetti and tomato sauce was printed on a blouse and over it
`was written, "Sorry,
`I'm Italian."
`
`Moschino hasn't bothered to stage a fashion show in several seasons but
`journalists and writers beat a path to his showroom door nevertheless. Both
`
`groups admire his plaid effects made of crossed chiffon ribbons, his newspaper
`prints, his mixture of colorful flowers and bold graphics and his fashion
`put—downs.
`
`though he won't
`Brimming with energy, Gianni Versace was a dominant force,
`show his main selection until the end of the week. He has the basic idea of
`
`taking themes from his top-priced lines and making them more widely available at
`modest prices.
`
`included printed
`Signature, which opened the showing season on Saturday,
`scarves based on his favorite city of the moment, Miami. There are also
`surprisingly simple dresses,
`the better to show off his bags, belts and chains
`all carrying the head of Medusa. There was also a line of watches with the
`Medusa face to tie the entire look together.
`
`Istante is the Versace line filled with peasant blouses, bell-bottom pants
`and black and white graphic stripes paired with demure florals. And if you look
`carefully you can spot the mini—skirt, an endangered species, peeping below a
`long fitted jacket or whirling in a playfully full skirt.
`
`another big Italian fashion name, will show his main collection
`Valentino,
`in Paris. Meanwhile, he gave the costume party a boost with full peasant
`
`

`
`The Vancouver_sun,_October 8, 1992
`
`PAGE
`
`1 2
`
`skirts, puffed out by crinolines, and a variety of pants. A cross between harem
`pants and the kind parachutists wear,
`they,
`too, carry echoes of the 1970s. They
`were all part of his secondary collection, called Oliver.
`
`the hippie. Carloads of love beads,
`Dolce 5 Gabbana go all out to reinvent
`rings on every finger, platform shoes. ribbons tied around the forehead like
`Indian headbands and patchwork jackets -
`the patches are made of metallic
`brocade ~ are some of the design tricks of Domenico Dolce and Stefano Gabbana.
`
`There were many of the now—ubiquitous bell-bottoms, plus Mexican-inspired
`white cotton eyelet skirts with ruffled bras, aprons of fringe and prints based
`on details from Botticelli paintings. There is plenty going on and the
`collection has vitality.
`
`GIANFRANCO Ferre obviously had deep thoughts as he put his collection
`together. Ferre,
`the major designer to take to the boards here with his top
`collection, used a photo of a rain forest as the backdrop for his show. "I
`imagined a green summer in the equatorial forest," he said in his program notes.
`
`Palm fronds were carried by some models; pleated green stoles were wrapped
`over green bathing suits, and natural fibres were prevalent. But it was not at
`all clear where the forest theme was taking him.
`
`His sheer white shirts were glamorous as always. His brown leather pants
`looked butterscotch soft. His short play clothes were glamorous. But except for
`the greenery, his seasonal message was obscure.
`
`The walk down memory lane was reaffirmed on Monday morning in the leather
`fashion collection of Mario Valentino.
`For love children who had forgotten
`their heritage,
`the Beatles on the loudspeakers singing about Lucy in the Sky
`with Diamonds recalled it all. Mario Valentino worked everything out in suede
`and snakeskin. The bluejeans look was transformed in shiny black sharkskin with
`doubled—stitched edges intact.
`
`the
`the bell-bottoms,
`low—flaring skirts go by,
`Watch the calf-length,
`obligatory patchwork vests,
`the tunics and the beads. It's fashion nostalgia
`with a vengeance. Is anyone around here thinking of the 1990s?
`
`GRAPHIC: AP/THE '70s: snakeskin jacket, flared pants and beads by Mario
`Valentino
`
`

`
`VALENTINO S.P.A. V. MATSUDA & CO.
`
`Opposition No. 91'I7ZI'l'69 (Parent)
`
`APPLICANT’S NOTICE OF RELIANCE NO. 5 UNDER 37 CFR §
`2.122§e[
`
`Exhibit 56
`
`

`
`56TH STORY of Level 1 printed in FULL format.
`
`Copyright 1992 International Herald Tribune
`International Herald Tribune
`
`October 6, 1992
`
`PAGE
`
`13
`
`SECTION: FEATURE
`
`LENGTH: 1574 words
`
`HEADLINE: Why Is Fashion Looking Back?
`
`BYLINE: Suzy Menkes
`
`DATELINE: MILAN
`
`BODY:
`
`the groupies were
`the music was pulsating,
`- The crowd was quivering,
`hyper-ventilating,
`the photographers were rampant. Then into the fashion show,
`flanked by bruiser bodyguards, walked pint-sized Madonna - her infamous breasts
`and worked—out body drowned in a brown pin-striped pantsuit.
`
`the sexual
`It was a moment of supreme anticlimax. And somehow the hype,
`innuendo,
`the pointless celebrity appearance and the brouhaha surrounding
`Madonna's arrival at the Dolce & Gabbana show seemed to symbolize everything
`that is going wrong on the international fashion stage. All the show biz can't
`conceal
`the fact that the same