At top, an image from the Cadbury commercial, at bottom, an image from Alexander McQueen's FW2006 show

In a recent ad for the chocolate company’s Flake candy bar, the woman’s layered, ruffled dress is shown blowing in the wind and eventually turning into the layers of the candy bar. A spokesperson for the company acknowledged, “we were aware of Baillie’s work with Alexander McQueen and others when we commissioned him to reflect the delicacy and fragility of the folds in the Flake bar. We felt Baillie’s unique house style was exactly what we were looking for.” {Stylelist}

While the approach seems similar, the end product is by no means identical. Beyond that, it seems overreaching on the part of the Gucci Group to try to claim ownership of an artistic style – particularly when it’s being used in a different industry to represent a completely different product. We understand the fight against counterfeiters, but this seems to go entirely too far.

Most things in fashion are inspired by previous designs and outside influences. And for many of the people who contribute to the fashion ecosystem, lending creative expertise or services isn’t done for large amounts of money, but for recognition to appeal to larger companies and advertisers who will be able to reward their creative contributions financially. While Walsh may have gained more recognition for his work with McQueen, it seems massively unfair to restrict him from modifying his ideas or techniques for anyone else. Not to mention, the risk of someone confusing the Cadbury commercial with anything representing McQueen seems highly unlikely.

Either way, The Gucci Group does plan to take legal action in the matter. How far should copyrights on creativity extend?

By now, most people are aware of the sad, untimely death of Alexander McQueen. When the Gucci Group, the parent company of the Alexander McQueen label, formally announced that the brand would continue much of the speculation turned to which designer would have the tailoring chops and creative sensibilities to carry the label forward.

Many of the people commenting on various blogs and websites tossed out Olivier Theysken’s name, but the speculation grew loudest around Gareth Pugh, whose striking, sometimes gothic designs share some of the elegant macabre sensibilities of McQueen’s designs. But that wasn’t the only element that inspired such wonder at McQueen’s pieces. There’s the impeccable Savile Row tailoring and unique prints among other things, so when Pugh denied the rumors of being considered as a replacement it wasn’t too much of a surprise.

Today, there are reports that Sarah Burton, who was often mentioned as being McQueen’s creative right hand, will soon be named Creative Director of Alexander McQueen. {WWD}

While her name sometimes made it into previous conversations on the subject, many people won’t be familiar with her name, but she could prove to be the smartest choice. Formerly head of womenswear for the label, Burton is a graduate of Central St. Martin’s (McQueen’s alma mater), and most important, worked with the designer for more than 10 years which is nearly all of McQueen’s professional career.

We mentioned in an earlier piece that McQueen’s passing didn’t have to mean the demise of the company if the Gucci Group followed examples set by the houses of Dior and Versace, which both maintained their influence after the unexpected deaths of strong head designers. In the case of Dior, his successor Yves Saint-Laurent not only continued the Dior legacy, but was successful in creating his own.

Only time will tell what Burton’s appointment will mean for the label, but her work on completing McQueen’s final collection after his death won critical acclaim. In a statement, Burton said that “creation of modern, beautifully crafted clothes was at the heart of Lee’s vision. I intend to stay true to his legacy.”