8.2 The evidence
140 Ms Yeh's evidence addressed her decision, on behalf of Homart, in 2014 to launch a serum essence product with a placenta-based formulation. In late 2014 or early 2015, she purchased some existing products available on the market. Those products that she was able to identify in her affidavit were "samples" to which she had reference in her design process. They were:
(a) the NC-24 Nature's Care "Bio-Nano Pure Placenta" (NC-24 product);
(b) the CHANTELLE bio-placenta 6-ampoule product;
(c) Dr Johns "Placenta Ampoule (Anti-Wrinkle + Whitening)" product (Dr Johns product);
(d) Rosanna "Radiance Concentrate Serum" (Rosanna product);
(e) Shelano Australia "Skin Lightening Program" (Shelano product);
(f) Carlmark BTX Argireline & Adenosine product and the Carlmark "Bio-nano Concentrated Placenta Liquid" (Carlmark products).
141 Of these products, the Rossanna, CHANTELLE bio-placenta product, NC-24, Dr Johns and the Carlmark "Bio-nano Contentrated Placenta Liquid" products contain placenta or sheep placenta ingredients. Ms Yeh retained the samples of each of the six listed products and exhibited each of those in evidence. It is convenient to set out below two images of the collected products which she annexed to her affidavit:
142 Ms Yeh's evidence is that in late 2014 or early 2015, she turned her mind to thinking about the design of a bio-placenta product having regard to these products, her personal knowledge and understanding of Chinese culture and her own knowledge of design matters (I note that this was after the launch of the CHANTELLE bio-placenta product).
143 With these factors in mind, she decided on what she refers to as "design principles and choices" which she proposed to apply to the CHÉRI bio-placenta product which involved; the use of a rectangular cardboard box to hold the six ampoules intended for the Homart product; the choice of a gold colour which, she said, was significant in Chinese culture; the use of 10 ml ampoules; the use of a protective mould housed inside a protective cardboard box to hold the ampoules; and the use of "simple undecorated design".
144 Ms Yeh explained that she initially decided to use the base of the Shelano product as her template, and produced a mock up for display in Hong Kong at an exhibition held in November 2014 based on that packaging. However, after the Hong Kong show she changed her mind and decided to use the CHANTELLE bio-placenta 6-ampoule box as her template. Ms Yeh said:
53. Of the samples I had in my hands, which used and could hold a foam inlay, the Chantelle packaging box size and structure seemed to be the right compromise for the 6-ampule box, because it was:
(a) not too big, so that it would be inexpensive to ship; nor
(b) [not] too small, so that it would be big enough to give as a proper gift among Asian people; and
(c) a solid box structure, with a narrow edge around the inner foam inlay.
54. ln addition, the gold colour of the Chantelle box was the same as the original internal and external gold colour of the Shelano box, which was the box I originally chose as my favourite.
55. I had already decided to use a gold box with an internal foam inlay, and undecorated design, and I decided to choose the dimensions and structure of the Chantelle box, because:
(a) it balanced the considerations above;
(b) it was a common type of box; and
(c) I would not have to waste time instructing a manufacturer how to make it, I could simply send the Chantelle sample to the manufacturer to get started.
145 In about July 2015, Ms Yeh sent a sample of the CHANTELLE box (including the plastic sleeve), as well as the CHANTELLE bag, to a manufacturer in China and asked for it to be reproduced.
146 Ms Yeh was at pains to submit that "this structure (i.e. a cardboard box, with internal raised 'lip', and left-hand-side ribbon and inlaid sponge-based inlay) is very common" in the market. In this context, she drew attention to the Laviena product, which had an accompanying gold-rope handled gold bag. However, the reference to the Laviena product should not be misunderstood. Nowhere did Ms Yeh say that she had regard to this product when designing the CHÉRI bio-placenta product. Rather, the Laviena product was advanced by way of a submission by Ms Yeh for the purpose of the present proceedings, in support of the proposition that the Laviena box "has the same key features as the Chantelle and Chéri boxes", and accordingly, that she was entitled to take the features of the CHANTELLE box and use them for the Homart product under design. Homart submits that the evidence indicates that "something similar" to the Laviena product was on the market prior to 2016, but this submission should be rejected. First, because the words something "very similar" provide no assistance as to what the differences were. Secondly, the evidence as to "something similar" was in Ms Yeh's affidavit and referred to a product called "LARIENA" not "LAVIENA". Thirdly, because the evidence does not support evidence of such sales.
147 Ms Yeh also gave an explanation that "undecorated boxes are common in the luxury cosmetics trade" and exhibited photographs of products (such as, "Chanel Paris" and "Fendi Roma") which adopt such a branding technique. None of those examples were drawn from a range of products which had bio-placenta as an ingredient or from products, so far as the evidence reveals, that were on display or available at the shops where purchasers acquired either the CHANTELLE or CHÉRI bio-placenta products. In this regard, I note that the evidence of Ms Hardcastle, Ms Johnson, Ms Cahalan, Mr Yip and Ms Xiaoxing Wang collectively referred to and often exhibited photographs concerning over 99 stores. I find Ms Yeh's explanation to be somewhat self-serving, and more in the nature of a submission than of evidence of her thought processes at the time that she designed the CHÉRI bio-placenta product. Contrary to the tenor of Ms Yeh's evidence, I find that the most likely source or inspiration for Ms Yeh's choice of a largely "undecorated" box and the use of a gold-rope handled gold carry bag to be the CHANTELLE bio-placenta product, a sample of which she had in her possession.
148 Ms Yeh asserted in her affidavit that the use of external sleeves around boxes is "common in the industry when the packaging of a product needs to be protected from scratches and dents". She exhibited photographs of some sleeves, none of which were products of the type in the present case. Ms Yeh did not explain why the present packaging particularly "needed" to be protected. She displayed a photo of the underside of some packaging that she had designed which was said to have used a plastic sleeve, but that was for an apparently unrelated fragrance called "Glasshouse". Ms Yeh presented no other bio-placenta product, other than the CHANTELLE bio-placenta products, that used a plastic or matte plastic sleeve, nor were any in evidence.
149 Ms Yeh also asserted that when boxes in which a product is held are large, it is "common" for the people in the cosmetics/luxury trade "to give a roped-handled paper bag". She referred in this context to the Laviena product and to others in support of this proposition, which I take to be another self-serving submission. Ms Yeh accepted that she had in her possession the Careline CHANTELLE carry bag, but in describing her instructions for production of the Homart product directed the suppliers to "get a carry bag made (but turn it differently to the Chantelle bag, in that I wanted a horizontal bag rather than a vertical bag)". I find that Ms Yeh deliberately copied the CHANTELLE carry bag.
150 In relation to the ampoules used in the Homart product, Ms Yeh's evidence was that the basic design of the bottles, used with applicator nozzles, had been known to her since 2004-2005. Examples were given. I accept that the basic shape of the bottles used by Homart in its bio-placenta product were probably commonplace by early 2016. However, in relation to the text on the ampoules, Ms Yeh's evidence was that she used the sample text from the bottles contained within the CHANTELLE bio-placenta product but ultimately changed the content of the text as well as the colour of the cap which was altered from silver to gold. I find that the layout of text on the ampoules was a copy, slightly amended, of that used on the CHANTELLE ampoules.
151 Ms Yeh also gave evidence as to her decision to use the brand name "CHÉRI Australia" for the CHÉRI bio-placenta product. The CHÉRI brand had been applied to a range of Homart products since 2004 and included a "rejuvenation serum" which had a placenta ingredient. An image of that product is depicted below.
152 Ms Yeh explained that the gold colour used for the rejuvenation serum was "retained" for the new bio-placenta product "because the gold colour had become a dominant colour in the beauty portion of the Chéri brand range, as shown on the rejuvenation product itself". Ms Yeh exhibited samples of separate Chéri products that fell within that range. However, consistent with the rejuvenation serum product which is depicted above, the other Chéri products adopt a two-toned colouring in which a substantial proportion of the packaging is coloured in the alternative colour (in the above example, black, but in other examples, pink or silver) and use a distinctive wreath shape on the packaging. The CHÉRI bio-placenta product utilises what Ms Yeh's evidence described as a wreath in a "UV printing pattern" which surrounds the brand name, but that wreath is extremely subtle to the eye and in some lights is barely visible.
153 It appears that the decision to move away from the two-toned colour scheme used for other products in the CHÉRI range was unique to the design of the CHÉRI bio-placenta products. This was an oddity that was not explained by Ms Yeh, save for the suggestion that for this product Ms Yeh desired to move to an undecorated box of the type which is "common in the luxury cosmetics trade". The decision to abandon previously used features of the CHÉRI range is, in my view, inconsistent with an intention on the part of Homart to draw on the reputation of that range in the sale of its new bio-placenta product. I consider that this move, and the adoption of other packaging features described above, reflects an intention on the part of Ms Yeh to create packaging of a style that closely imitates the packaging of the CHANTELLE bio-placenta product. That intention is further reflected in the design of the gold carry bag for the CHÉRI bio-placenta product. As I have noted, the CHANTELLE carry bag was supplied to the manufacturer as a template. The Homart bag is absent the UV wreath.
154 Ms Yeh's evidence in her first affidavit concluded with statements to the effect that she had no intention to mislead or confuse consumers. She asserted that the "design concept" was in her head before she adopted the box dimensions and structure of the CHANTELLE bio-placenta 6-ampoule product. In this context, she said at [116] of her affidavit:
I believed that the design work we had done, distinguished the Cheri product from all other products, including the Chantelle product, because of the:
(a) wreath;
(b) our different and famous brand;
(c) different logo; different formulation (e.g. the Hyaluronic acid ingredient and other ingredients such as ginseng);
(d) different product name (that is, "whitening anti-ageing");
(e) different product description on the box.
155 In section 6 above, I have conducted a comparison of the products. In my view, the distinctions upon which Ms Yeh relies on in (d) (product name), (e) (product description) and (c) (logo and formulation) have no real visual impact. The wreath can be seen in certain lights, but faintly and is absent on the bag. The only material point of distinction was the brand name. In section 9 below I consider the reputation of Homart in that brand.
156 Ms Yeh gave evidence that in relation to the Homart design of its 3-ampoule box, it supplied its manufacturers with no sample based on the CHANTELLE bio-placenta equivalent 3-ampoule container.
157 In cross-examination, Ms Yeh gave the following evidence:
And isn't it important to that task to know whether the product packaging of your competitors is liked or appealing to customers?---Yes. Yes. And - yes.
And you were embarking upon a process of adopting - to use your words - some of the features of the Careline Chantelle packaging, weren't you?---Yes, I adopt the structure and the size. Yes.
And you say that, knowing that was your plan, you have no idea whether customers liked or disliked the Chantelle packaging. Is that your evidence?---Yes. As I explained earlier, before I have all these samples with me. At the time, I choose Shelano size - not Chantelle - so that's - later on I moved to Chantelle. So at the beginning I don't even think of Chantelle.
And do you say to his Honour that you made the decision to adopt features of the Chantelle packaging with absolutely no idea of whether customers liked or disliked that packaging?---No idea. Definitely no idea.
Now, from beginning to end in the design process - so when you set about designing the packaging for Cheri to when you reached the end point and had a finished product - your objective was to capture for Homart - to take for Homart - the largest share of the market for this type of product - placenta serum - that you possibly could; wasn't it?---Yes. I - yes. Of course want everything I decided I launch - I want to have a good sale. Of course.
And didn't that objective guide every decision you made at every step of the process of designing the Cheri Bio-Placenta packaging?---Yes.
And the way you intended to achieve that objective was by selecting packaging elements - design elements - that you thought would have the greatest consumer appeal possible; wasn't it?---Yes.
Now, you accept, don't you, that, when you were making decisions about what the design of the Cheri product should look like, you copied many of the design features of the Chantelle packaging; didn't you?---No.
You accept that you copied some features of the Chantelle packaging design, don't you?---As my documents say, only the structure and the dimension. Yes.
So let's just be clear about that. You say that the only decision you made to copy Chantelle was the structure - and what were the rest of your words?---The - the - the box structure.
Yes?---And also the - the box structure; also the sleeve. The sleeve that we - inspired by them.
158 The above passage reflects a frank admission on the part of Ms Yeh that she intended to copy some, but not all features of the CHANTELLE bio-placenta product. However, in my view Ms Yeh's admissions do not go far enough or reflect the reality of the situation. In my view, her intention in creating the Homart design was to adopt the colour, shape, arrangement and style of the Careline 6-ampoule box and its contents for its bio-placenta product, including its internal arrangement, for the purpose of maximising its impact on the market and to benefit from the reputation developed by Careline in its product. At the time of making the design she had the CHANTELLE bio-placenta product firmly in mind.
159 In her oral evidence at one point she appeared to deny that she turned her mind to whether or not the CHÉRI bio-placenta product sufficiently distinguished the CHANTELLE bio-placenta product. However, I find that Ms Yeh did intend to replicate the features of the CHANTELLE bio-placenta packaging, with the exception of its name, with the understanding that the likely consequence would be that the similarities of that packaging would be influential to consumers in their choice of product.
160 In this context, whilst Ms Yeh was responsible for placing the brand name "CHÉRI Australia" on the packaging, I consider that she nevertheless intended that the packaging of the new CHÉRI bio-placenta product would import a reference to the CHANTELLE bio-placenta product by the similarities of the packaging design and general get-up. Indeed, in my view, the objective similarities between the packaging of the Homart and Careline products defy a conclusion that Ms Yeh was not aware that they would have an impact on consumers.