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Why Manchester City are being sued by Superdry

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Why Manchester City are being sued by Superdry

Manchester City’s players wore modified training gear for their pre-match warm-up on Sunday following a High Court trademark infringement claim from fashion brand Superdry.

It emerged last week that City are being sued for damages over the use of the words Super Dry — a type of beer sold by one of their main sponsors, Asahi — on their training kit.

Some immediate implications have become apparent: up until Wednesday, January 3, the day Superdry’s claim was first reported by Law360, City’s players have worn bibs, sweatshirts and coats that bear the words ‘Asahi Super “Dry”’ in training and before matches.

Since the middle of last week, however, and including for the warm-up before their FA Cup match with Huddersfield Town on Sunday, the players’ clothing has been changed to ‘Asahi 0.0%’.


City wore training tops without the ‘Super “Dry”’ branding at the weekend (Clive Brunskill/Getty Images)

But with Superdry, the UK-based clothing brand, also seeking an injunction and financial damages, and even the option to ‘destroy’ City’s ‘Super “Dry”’-branded training gear, there will be more developments to come.

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Here, The Athletic explains what we know so far and what could come next.


What does Superdry want and why?

Superdry alleged City “benefit unfairly” from “riding on the coattails of… well-known Superdry registrations” and argues its own brand could be “tarnished” by poor quality clothing items sold by City.

It also claims there is potential for its brand to be affected by “negative perceptions or preconceptions of Manchester City Football Club in the minds of e.g. supporters of rival football clubs” and says the club’s use of Super “Dry” branding could do “damage to the reputation of Superdry”.

Superdry submitted that “the appearance of the (training) kit is liable to deceive a substantial number of members of the UK public into believing that the (training) kit is clothing designed or sold by (Superdry)”.

As a result, the brand is seeking financial reparations from City. It is “presently unable to quantify the exact financial value of this claim”, according to the court documents, but intends those damages to “include… any unfair profits made by the infringer by reason of the infringement”.

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The value of City’s training kit sponsorship with Asahi was not made available publicly, although it was reported the club’s previous partner, OKX, paid $20million (£18.5m) for the 2022-23 season and therefore speculated that the new agreement would fall in a similar bracket.


City’s players wearing the Super “Dry” training gear at the end of December (Alex Livesey/Getty Images)

Superdry claims City have “profited very substantially” from the sponsorship deal related to the branding on the training kit and that they have “engaged in… infringing activities knowingly and/or with reasonable grounds for knowing that Superdry was a well-known clothing brand” that had not given its permission.

In November 2023, Asahi won an award from marketing agency The Drum for a campaign which set out, according to an article on The Drum’s website, to “elevate the status of the training kit and instil it with the same level of pride and symbolism as the first kit and away kit”.

Following acceptance of the award, Asahi said the campaign — which featured Kevin De Bruyne and John Stones, among others — was City’s most-engaged-with piece of sponsorship content of the season up until that point, achieving 19.87million views and 428,000 interactions across social media.

Superdry also asked the court to stop City from using or selling any items emblazoned with the phrase ‘Super “Dry”’ and for the club to transfer to the company all such items, or to “destroy or modify” them.

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What else is in the court documents?

In documents submitted on December 15 — and seen by The Athletic — Superdry sets out to highlight its popularity as a brand, highlighting its 98 UK stores, several well-followed social media pages and awards won, as well as listing celebrities such as David Beckham, Neymar Jr and Kylie Jenner to have worn its clothing.

It also cited collaborations with rock bands Metallica, the Sex Pistols, Iron Maiden and Motley Crue.

City players Julian Alvarez, Jack Grealish, Erling Haaland, Kyle Walker and Oscar Bobb are also shown wearing training gear emblazoned with Asahi’s ‘Super “Dry”’ branding, specifically ‘Super “Dry” Asahi 0.0%’.

Superdry argues some of the photos demonstrate that not all of that wording will always be visible due to “various factors such as the viewing angle and the physical posture of the wearer”. One of the photos does show Haaland inadvertently covering much of the “Asahi” logo on his training shirt.

The brand also provides examples of its own clothing where the words ‘Super’ and ‘Dry’ are stacked on top of each other, as was the case on City’s Asahi clothing.

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City already appear to have made changes to their training gear. Last Wednesday, the club posted a picture of women’s team striker Khadija Shaw in training wearing a half-zip bearing the words “Asahi 0.0%”. On Thursday, there were further images of the male players wearing clothing with the same branding.

The last time the ‘Super “Dry”’-branded items were publicly visible was during the Premier League match against Sheffield United on December 30.

City have not commented and it is not clear when they were made aware of the claim against them.

What are the implications for City?

City announced in July that beer brand Asahi Super “Dry” would feature on both the men’s and women’s training gear throughout 2023-24.

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In a statement at the time, they said: “Since the start of the partnership, the Asahi Super Dry brand has been integrated across a number of different areas, including the rebrand of the Asahi Super Dry Tunnel Club and wider installation of cutting-edge technology throughout the Etihad Stadium to provide City fans with the unique Japanese super dry taste.”

This claim relates only to training apparel rather than City’s tunnel club hospitality offering.

Although the Super “Dry” brand itself belongs to Asahi — and is trademarked in relation to beer advertising rather than clothing — City find themselves in the middle of the claim because they own and were selling the product bearing the disputed wording.

There is no set date for any further court hearings and it is unknown when there will be a resolution.

Superdry, Asahi and Manchester City all declined to comment.

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Video: The A.I. threat to audiobooks

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Video: The A.I. threat to audiobooks

new video loaded: The A.I. threat to audiobooks

Artificial intelligence has made pirated audiobooks faster to make and harder to detect. Our reporter Alexandra Alter tells us about the latest threat to the publishing industry.

By Alexandra Alter, Léo Hamelin and Laura Salaberry

May 20, 2026

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Kennedy Ryan on ‘Score,’ Her TV Deal, and Finding Purpose

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Kennedy Ryan on ‘Score,’ Her TV Deal, and Finding Purpose

At 53, and after more than a decade in the industry, things are happening for the romance writer Kennedy Ryan that were not on her bingo card.

The most recent: a first look deal with Universal Studio Group that will allow her to develop various projects, including a Peacock adaptation of her breakout 2022 novel “Before I Let Go,” the first book in her Skyland trilogy, which considers love and friendship among three Black women in a community inspired by contemporary Atlanta.

With a TV series in development, Ryan — who published her debut novel in 2014 and subsequently self-published — joins Tia Williams and Alanna Bennett at a table with few other Black romance writers.

“What I am most excited about is the opportunity to identify other authors’ work, especially marginalized authors, and to shepherd those projects from book to screen,” said Ryan, a former journalist. (Kennedy Ryan is a pen name.) “We are seeing an explosion in romance adaptations right now, and I want to see more Black, brown and queer authors.”

Her latest novel, “Score,” is set to publish on Tuesday. It’s the second volume in her Hollywood Renaissance series, after “Reel,” about an actress with a chronic illness who falls for her director on the set of a biopic set during the Harlem Renaissance. The new book follows a screenwriter and a musician, once romantically involved, working on the same movie.

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In a recent interview (edited and condensed for clarity), Ryan shared the highs and lows of commercial success; her commitment to happy endings; and her north star. Spoiler: It isn’t what readers think of her books on TikTok.

Your work has been categorized as Black romance, but how do you see yourself as a writer?

I see myself as a romance writer. I think the season that I’m in right now, I’m most interested in Black romance, and that’s what I’ve been writing for the last few years. It doesn’t mean that I won’t write anything else, because I don’t close those doors. But the timeline we’re in is one where I really want to promote Black love, Black art and Black history.

What intrigued you about the period of history you capture in the Hollywood Renaissance series?

I’ve always been fascinated by the Harlem Renaissance and the years immediately following. It felt like a natural era to explore when I was examining overlooked accomplishments by Black creatives. I loved the art as agitation and resistance seen in the lives of people like James Baldwin or Zora Neale Hurston, but also figures like Josephine Baker, Lena Horne and Dorothy Dandridge, who people may not think of as “revolutionary.” The fact that they were even in those spaces was its own act of rebellion.

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What about that period feels resonant now?

The series celebrates Black art and Black history and love at a time when I see all three under attack. Our art is being diminished and our history is being erased before our very eyes. I don’t hold back on the relationship between what I see going on in the world and the books I write.

How does this moment in your career feel?

I didn’t get my first book deal until I was in my 40s, so I think this is the best job I’ve ever had. I’m wanting to make the most of it, not just for myself, but for other people, and I think the temptation is to believe that it will all go away because that’s my default.

Why would it all go away?

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Part of it is because we — my family, my husband and I — have had some really hard times, especially early in our marriage when my son was diagnosed with autism, my husband lost his job, and we experienced hard times financially. I’ll never forget that.

When I say it could all go away, I mean things change, the industry changes, what people respond to changes, what people buy and want to consume changes. So I don’t assume that what I am doing is always going to be something that people want.

Why are you so firmly committed to defending the “happy ending” in romance novels?

It is integral to the definition of the genre that it ends happily. Some people will say it’s just predictable every one ends happily. I am fine with that, living in a world that is constantly bombarding us with difficulty, with hurt, with challenge.

I write books that are deeply curious about the human condition. In “Score,” the heroine has bipolar disorder, she’s bisexual, there’s all of this intersectionality. For me, there is no safer genre landscape to unpack these issues and these conditions because I know there is guaranteed joy at the end.

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You have a pretty active TikTok account. How do you engage with reviews and commentary on the platform about you or the genre?

First of all, I believe that reader spaces are sacred. Sometimes I see authors get embroiled with readers who have criticized them. I never ever comment on critical reviews. I definitely do see the negative. It’s impossible for me not to, but I just kind of ignore it. I let it roll off.

How does this apply to being a very visible Black author in romance?

I am very cognizant of this space that I’m in right now, which is a blessing, and I don’t take it for granted. I see a lot of discourse online where people are like, “Kennedy’s not the only one,” “Why Kennedy?,” “There should be more Black authors.” And I’m like, Oh my God, I know that. I am constantly looking for ways to amplify other Black authors. I want to hold the door open and pull them along.

How do you define success for yourself at this point?

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I have a little bit of a mission statement: I want to write stories that will crater in people’s hearts and create transformational moments. Whether it’s television or publishing, am I sticking true to what I feel like is one of the things I was put on this earth to do? I’m a P.K., or preacher’s kid. We’re always thinking about purpose. And for me, how do I fit into this genre? What is my lane? What is my legacy? Which sounds so obnoxious, you know, but legacy is very important to me.

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How Many of These Books and Their Screen Versions Do You Know?

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How Many of These Books and Their Screen Versions Do You Know?

Welcome to Great Adaptations, the Book Review’s regular multiple-choice quiz about printed works that have gone on to find new life as movies, television shows, theatrical productions and more. This week’s challenge highlights the screen adaptations of popular books for middle-grade and young adult readers. Just tap or click your answers to the five questions below. Scroll down after you finish the last question for links to the books and their screen versions.

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