On the importance of the meaning of signs when analysing the danger of confusion between two trademarks

The visual or conceptual similarity between the trademarks in question has traditionally been assessed by comparing the signs as patented, independent from the use made thereof. In a decision dated 8 February 2018, the Court of Appeal of Douai took into consideration not just the visual and phonetic similarities but also the specific meaning of the signs in order to assess the absence of any danger of confusion between the two trademarks in question (Douai Court of Appeals, 1st Chamber, Section 2, 8 February 2018, no. 17/04715). In this case, the company Décathlon had lodged an objection to the registration of the verbal trademark “Résathlon” on 27 November 2016 on the basis of its earlier EU trademark “Décathlon” dated 28 April 2004. These two trademarks were in fact used to refer to identical services such as advertising, sporting activities and software design. The objection having been rejected by the Director General of the French patent office (INPI), Décathlon then filed an appeal with the Court of Appeal in Douai. This decision has been confirmed by the order issued by the Court.
In fact, the Court considers that “the term “Décathlon” is a proper noun that designates a men’s athletics event consisting of ten different competitions and, therefore, a sporting activity in the literal sense, the term “Résathlon” has been made up. It has been created by using the term “resa” in reference to the notion of reservation, and the suffix “-athlon” in reference to sporting activities. In doing so, it acquires a meaning that is different from that of the brand Décathlon”. Similar interpretations have been applied in numerous decisions. For example, it has been accepted that there is no danger of confusion between the earlier trademark “Cultura” and the trademark “Culturapy”, the Court having considered that the disputed sign constituted an “arbitrary neologism evoking the notion of joy or therapy through culture” (Court of Appeal of Bordeaux, 1st Chamber, 18 January 2016, no. 15/00352). Similar, in the Cicaderma v. Cicareva ruling, the Court concluded that there was no danger of confusion due to the major conceptual differences separating the trademarks: the earlier trademark referred directly to skin creams aimed at reducing the visibility of scarring, while the disputed trademark was a work of the imagination (Court of Appeal of Lyon, 1st Chamber, 25 July 2013, no. 13/01142). Finally, in the Angulus v. Angel’us ruling, given that the earlier trademark was a Latin word meaning angle while the disputed trademark consisted of an association between the words Angel (“ange” in French) and the abbreviation for the United States (US), the Court considered that there was no danger of confusion between the two trademarks in question because of the absence of any conceptual similarity, despite the obvious visual and phonetic resemblance (Court of Appeal of Aix-en-Provence, 2nd Chamber, 25 June 2015, no. 14/14876).
Therefore, in accordance with established case law precedent, it should be noted that the danger of confusion between two signs with strong visual and phonetic similarities must be set aside if these have different meanings.


The very essence of copyright is to confer on the author of an original work an exclusive, intangible property right enforceable against all. Pursuant to this exclusive right, no infringement of the work, of any nature whatsoever, can be carried out without the prior consent of the author. The right to the respect of the integrity of the work enshrined in article L.121-1 of the Intellectual Property Code imposes that a work that expresses the personality of the author cannot in theory be subject to a material alteration without the express agreement of the author. Through a judgment on 20 December 2017, the Supreme Court of Appeal has just established a limit to this exclusive right of the author: an alteration of a work of architecture that does not infringe the rights of the author can be carried out without their consent. An original architectural work can be protected in respect of copyright as any other literary or artistic work would be. However, and contrary to a purely aesthetic work, a work of architecture has a functional purpose which results from the fact that a building, in addition to being original, may constitute a place of residence, work or access to culture. In the case at hand, the architectural work intended to house the collections of the “Musée d’Arles antique” had been produced by an architect on behalf of a département, which, without the consent of the architect, proceeded to carry out extension works to the building in order to exhibit a Gallo-Roman trading ship.














