We’re sure you’ve heard, because this is important: Kim Kardashian is suing Old Navy for putting a Kardashian lookalike in a television commercial earlier this year. The lawsuit claims that Old Navy intended to capitalize on Kardashian’s hard-earned fame and credibility by casting the doppelganger. (In the picture at right, Kardashian is on the left, and alleged clone Melissa Molinaro is on the right). We’ll let justice run its course on this front, but the case reminds us of our ever-evolving rights to control our own image. There was a time when a company like Old Navy could have legally employed in their advertisements not just celebrity lookalikes, but anyone they wanted. In the following excerpt from American Property: A History of How, Why, and What We Own, Stuart Banner details a landmark case that prompted so much outrage that it led to the firm establishment in American law of the ownership of one’s own image.
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Abigail Roberson was a Rochester teenager who had her portrait taken at a local photographic studio. Somehow her picture ended up on 25,000 posters advertising the flour made by Franklin Mills of nearby Lockport. The photographer most likely sold the negative to whoever designed the posters, but however it happened, no one obtained Roberson’s consent. The picture showed Roberson’s head and shoulders in profile. Above her head the advertisement read “Flour of the Family.” Franklin Mills placed the posters in stores, warehouses, and saloons, including some in Rochester, where Roberson’s acquaintances could recognize her. The resulting humiliation caused her to suffer a severe nervous shock, which confined her to bed and required treatment by a physician. Her lawsuit sought $15,000 in damages and an order forbidding Franklin Mills from continuing to use her picture in its advertising.
The defendants (Franklin Mills and the Rochester Folding-Box Company, who apparently produced the posters) sought to have the case dismissed, on the ground that they had the right to use Roberson’s picture. “The substance of this contention,” responded the trial judge, “is that the feelings of the plaintiff may be outraged with impunity by any person,” and that was too much for him to bear. “If such were a fact,” he declared, “it would certainly be a blot upon our boasted system of jurisprudence that the courts were powerless to prevent the doing of a wrongful act which would wound in the most cruel manner the feelings of a sensitive person.” The case would be different, the judge explained, if the defendants had used the picture of someone who was already in the public eye, because such a person could hardly complain about unwanted publicity. But “any modest and refined young woman might naturally be extremely shocked and wounded in seeing a lithographic likeness of herself posted in public places.” Such a display violated the very core of “the sacred right of privacy.” If Abigail Roberson’s image, “owing to its beauty, is of great value as a trade-mark or an advertising medium,” he concluded, “it is a property right which belongs to her.”
The case attracted an unusual amount of positive attention, even while it was in the trial court. The trial judge’s decision “has elicited general approval from the press,” remarked one lawyers’ journal. The decision would likely be sustained on appeal, “and we certainly think it ought to be,” noted another. There was something disturbing about forcing a young woman into the harsh commercial world, something that grated on conventional ideas about the proper role of women and the sanctity of the home. When the decision was affirmed by New York’s intermediate appellate court the following year, another round of approving commentary followed. If ever there was a litigant who could attract public sympathy in favor of a right to control the display of one’s image, it was Abigail Roberson.
That sympathy reached its peak in 1902, when the New York Court of Appeals, by a 4– 3 vote, reversed the decision and held that Roberson had no right to prevent Franklin Mills from using her picture. “The so-called ‘right of privacy’ has not as yet found an abiding place in our jurisprudence,” Chief Judge Alton Parker decided. Like the earlier judges who had rejected the notion, Parker and his colleagues in the majority were worried about the threat to the freedom of expression posed by allowing people to control the use of their images. “If such a principle be incorporated into the body of the law through the instrumentality of a court,” Parker feared, “the attempts to logically apply the principle will necessarily result not only in a vast amount of litigation, but in litigation bordering upon the absurd, for the right of privacy, once established as a legal doctrine, cannot be confined to the restraint of a publication of a likeness, but must necessarily embrace as well the publication of a word picture, a comment upon one’s looks, conduct, domestic relations or habits.” And that was only the start. If there was a right to privacy that applied to printed matter, “it would necessarily be held to include the same things if spoken instead of printed, for one, as well as the other, invades the right to be absolutely let alone.” A legislature might make distinctions between pictures and names, or between print and speech, Parker explained, but because a court had to decide cases on general principles, a decision for Abigail Roberson threatened to swallow up public discourse.
Few court decisions have been so unpopular. One lawyers’ magazine lamented that “the ordinary citizen, man or woman, has absolutely no redress against the machinations of any advertising agent who, with a sense of delicacy equal to that of an elephant, may choose to utilize the picture of any reputable and retiring member of the community.” Another suggested that some cigar maker should use Parker’s picture on a line of “Chief Justice” cigars. “New terrors are added to life,” fretted the New York Times, while one correspondent to the paper was nervous that if “some enterprising and adventurous advertising agent by fraudulent stealth procures a snapshot of my lady at the bath” the photo might appear in advertisements. Some lawyers criticized the Court of Appeals for grossly overestimating the effects of a decision for Roberson on forms of speech other than advertising. Others criticized the court’s timidity in failing to make new law to keep up with the times. After a few months of attacks, Denis O’Brien, one of the judges in the majority on the Court of Appeals, took the extraordinary step of defending the decision in an article in the Columbia Law Review. The Roberson case had transformed the right to privacy from a novel and uncertain legal issue into a popular cause, among lawyers and in the wider world.