Category Archives: People

Industry trio forge new art, culture, and science focused business ARTiSTORY

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Licensing industry specialists Dave Collins, Tamara Dixon, and Natasha Dyson have united their expertise and combined experience to launch the new licensing business venture ARTiSTORY, a new unit focused on developing content in the art, culture, and science sectors.

ARTiSTORY will aim to translate objects or artistic, cultural and scientific significance into usable assets for the consumers of today, doing so through its three key areas of business: IP asset development, IP licensing, and content development.

The founder trio are each experts in their respective fields and the new venture will see Collins take on the role of co-founder and commercial director, Dixon as co-founder and creative director, and Dyson as co-founder and licensing director.

By tapping into treasured collections at world’s top museums and heritage institutions, ARTiSTORY creates annually refreshed trends, themes and original design assets including illustrations, prints & patterns, which in turn, can be applied onto product and packaging design.  

ARTiSTORY licenses these design assets to consumer brands and retailers and assist them to introduce compelling products, engage shoppers via digital marketing and offer immersive shopping experiences. Each product comes with a unique story that consumer brands and retailers can attract more shoppers by leveraging the power of storytelling.  

“Storytelling is central to human existence. That it’s common to every known culture and research shows that messages delivered as stories can be up to 22 times more memorable than just facts. Storytelling is the future of marketing and there are no better ingredients than art and culture which transcend time and geographic barriers,” read a statement from the new business.    

“By working with ARTiSTORY, consumer brands, manufacturers and retailers will acquire new customers more effectively, both through their online and offline stores, turning shoppers into your loyal fans while providing them with unique shopping experience.”

The team at ARTiSTORY are pioneers in art and culture IP licensing with track records working with the Natural History Museum, British Museum, the MET, V&A and many world’s top retailers and consumer brands such as Uniqlo, Amazon, Max Factors and Nestle etc.  

“We are constantly looking to partner with new IP in the art, culture and science sector. We serve as a creative design studio, act as a joint licensor and roll out design led licensing programmes across Europe and North America,” said ARTiSTORY.  

ARTiSTORY will work from a design led studio in London and a sales office in Barcelona.

Contact: Natasha Dyson on natasha@artistorybrands.net +44 7855 858711.

www.artistroybrands.net

Studio 100 names Joachim Knödler its new head of licensing as company veteran Gerd Russwurm announces retirement

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Studio 100 has named the former WildBrain CPLG Central Europe managing director, Joachim Knödler its new head of licensing, taking over the role from Gerd Russwurm who is retiring at the end of the year after more than 24 years with the company.

In his new role, Knödler will be responsible for the international licensing of the Studio 100 Group and will report to Martin Krieger, CEO of Studio 100 Media. He was most recently the managing director at Wildbrain CPLG Central Europe. Under his leadership, the business in Central Europe was restructured and during his 17 years there, he gained extensive experience in brand licensing, entertainment and the launch of private label brands including the implementation of DTR licensing.

Knödler developed fundamental licensing strategies with all major Hollywood Studios for a successful introduction of the company’s portfolio in GSA and Europe. Another focus of Knödler’s work is the development of Master Toy lines.

Previous positions at Hasbro and Simon Marketing / The Marketing Store have given him extensive experience in the toy sector. In various roles, he was responsible for the relaunch of the Star Wars Toy Line together with the launch of E1 and the roll-out of the Pokémon Master Toy Line and the Nerf Toy Line in the German-speaking territories.

He also supervised the development of the Happy Meal Toys for McDonald’s Germany and was accountable for the first McDonald’s Monopoly, which was rewarded with significant sales growth. In addition, Knödler was responsible for initiating the success of Sesame Street and Minions in the German-speaking world.

Joachim Knödler said: “I very much look forward to bringing my experience and expertise to such a fantastic licensor as the Studio 100 Group. In my new role, it is important for me to drive a coherent licensing strategy that fits the target group and that includes the right choice of licensing partners.

“My goal is to have a wide range of consumer products on the market. I know that I’m following and stepping into really big footsteps when I take over from Gerd – and that’s precisely why I’m extremely grateful for the trust that is placed in me and look forward to this new challenge.”

Martin Krieger, CEO at Studio 100 Media, added: “Joachim’s reputation and achievements speak for themselves. I am confident that as head of our licensing team together with the entire Studio 100 Group, he will help us grow and continue to meet and exceed the needs of our partners worldwide.

“Moreover, I look forward to working with him, and to the many new products and collaborations, it will bring under his management. At this point I would like to take the opportunity to express my sincere thanks to Gerd: It was not easy to find a successor. Gerd’s dedication and commitment, his experience in the industry and his personality have shaped our company and the brands: In December, an era will come to an end.”

Gerd Russwurm will remain at Knödler’s side over the next few months and will pass the baton on at the end of the year.  After more than 24 years with the company and countless successes in the industry, including thousands of licensed products for Maya the Bee, Vik the Viking, Mia and me, the World Cup and Mickey Mouse with nine working for Disney Russwurm will then retire.

Banijay appoints new chief commercial officer to oversee its major licensing push

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Banijay has appointed a new chief commercial officer in the form of Owain Walbyoff to be based in the firm’s London unit in a newly devised role that will span licensing, merchandising, gaming, gambling, and music. Walbyoff will take up the position as of September 1st this year.

Walbyoff has spent almost 20 years working across sales and management in the licensing, media and technology space. In his most recent role in the technology industry, he oversaw licensing, R&D partnerships, and marketing activity, working with brands like LVMH, and Formula 1. 

In 2018, Walbyoff provided consultancy to ITV, helping with strategy and business development across its gaming, gambling, and app portfolio. He also worked with the licensing team on its vast IP offering. Prior to this, he was managing director for Endemol Shine Group’s global licensing business. There he took care of sales and operations for gaming, gambling, licensing and merchandising across its 20-country-strong footprint. 

Reporting to Banijay’s COO, Peter Langenberg, Walbyoff will now devise and execute the group’s overarching licensing strategy and will manage all teams across merchandising, brand licensing, gaming and gambling, and music.

Peter Langenberg said: “Owain has an incredibly strong track-record in the commercial space. With a CV spanning multiple genres and industries, he brings a wealth of knowledge across all disciplines and, having inked a number of stand-out deals in his career, we have no doubt he will be invaluable in strengthening our IP monetisation efforts moving forwards.

“As we build one of the world’s largest content catalogues, we were after a strong entrepreneurial and commercial mind to lead in this area and in him, we have found just that.”

Walbyoff added: “In some ways, it feels like a return and in others, a new, exciting adventure. With an abundance of world-renowned, commercially viable assets, a healthy pipeline of new IP and the most talented combined team, I feel privileged to be leading this department through its next phase.

“Historically, this portfolio has already performed incredibly, so let’s see where we can take it to next.”

The Banijay portfolio which Walbyoff will now represent comprises Masterchef, Deal or No Deal, Peaky Blinders, Temptation Island, Survivor, Tipping Point, Big Brother, Operation Triunfo, Simon’s Cat, Mr Bean, The Biggest Loser, Ready Steady Cook, Black Mirror, Miss France, Eat Well for Less and Crystal Maze.

Genius Brands appoints Jessica Brinder as its new VP of international distribution

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Genius Brands International has appointed former Corus Entertainment sales executive, Jessica Brinder, as its new vice president of international distribution. The move arrives as Genius Brands continues to grow all areas of its business, including with the launch of its Kartoon Channel, and plans for further content in the pipeline.

In her new role, Brinder will oversee global content sales from Genius Brands’ catalogue of children’s programming, including flagship properties, Rainbow Rangers and Llama Llama, along with the upcoming Stan Lee’s Superhero Kindergarten, starring Arnold Schwarzengger, and new content produced under the Stan Lee Universe banner.

Lindsay Brown, who serves as director of international sales, will report to Brinder.

“This is an exciting time to be at Genius Brands as we continue to build our content portfolio, and I welcome Jessica to our team to help drive our content sales efforts around the world,” said Genius Brands’ chairman and CEO, Andy Heyward.

“We now have 100 per cent distribution of the Rainbow Rangers series in the Western Hemisphere and are expanding further internationally, as well as further product roll outs this year; our Llama Llama Netflix Original series is in season two with product on shelf; we have forged a new and important partnership with Alibaba group on our forthcoming Stan Lee’s Superhero Kindergarten, starring Arnold Schwarzenegger; and we have created the Stan Lee Universe banner, which will be generating a lot of new content over the next few years.”

Brinder said: “I am thrilled to work with Andy and the team at Genius Brands as we continue producing ‘content with a purpose’ for global distribution.

“We have a diverse catalog of enriching and entertaining programming with new original content coming down the pipeline, and I look forward to working with our broadcast and platform partners worldwide to bring our unique offerings to young audiences around the world.” 

 Brinder joins Genius Brands from Kickstart Entertainment in Canada, where she served as vice president of business development. She previously worked for over five years for Corus Entertainment, most recently as a senior sales manager of global distribution at Nelvana, managing the distribution of content in key territories around the world and overseeing the strategic direction and team of the global VOD business.  Brinder will be based in Toronto.

Unanico Group to bolster content development, production and licensing under new CEO Leanne Preston

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The international independent media company, Unanico Group is looking to bolster its content development, production and global partnership and licensing strategies with the appointment of a new Producer and CEO in the form of Leanne Preston.

The former Nickelodeon executive is set to head up the award-winning team and bring her over 14 years of animation experience to the role as Unanico continues on its mission to expand across the US.

During her time at Nickelodeon, Preston worked on the BAFTA-nominated House of Anubis, before moving into her role as head of development at Red Kits Animation. It was there that she spearheaded the development of the award-winning DreamWorks Classics property George of the Jungle, now airing in over 125 countries, and Ella Bella Bingo, recently sold to over 25 countries.

Prior to joining Unanico, Preston has served as head of production development, animation for Citizen Skull Productions, working on Nickelodeon’s LEGO City Adventures, Youku and international pre-school series Emmy & GooRoo, and Tencent hit Mini Mind Warriors.

Preston also had a stint as director of animation development for production at Gaumont Animation US.

Founded in 2009 by producer Paul Laikin and creative director Jason Jameson, Unanico Group is dedicated to the creation of original 2D, 3D and CGI animation, with a focus on developing and producing in-house IPs, as well as co-developing and co-producing animated IPs from selected partners.

Unanico Group creates long-form series, films, shorts, illustrated books, casual games, apps, interactive experiences, AR, VR, MR and licensed merchandise. Previous projects include: One Night In Hell, an award-winning animated short film in collaboration with Queen’s guitarist Brian May, the All Dead, All Dead Queen music video (3M+ views on YouTube), and the animation of all three seasons of CBeebies four-time BAFTA-nominated series, Apple Tree House.

Preston is joining Unanico Group following the release of its pre-school series Buddi in March of 2020. Buddi is streaming worldwide as a Netflix Original Series, with executive producer Keith Chapman. Unanico Group is currently in development of multiple other original series and feature films and has industry partnerships in Japan and in China, where the company has successfully distributed Apple Tree House and Koala Brothers to platforms such as Tencent Video, Mango TV and Jetson Huashi and produced Buddi with Motion Magic of Shanghai Media Group.

“Unanico Group is thrilled to welcome Preston to the team, and excited for her collaboration and leadership on their upcoming development slate and productions, including exciting new IPs and music partnerships,” read a statement from the firm.

“Unanico is dedicated to creating quality animation and forming strategic partnerships, with several new projects underway with major companies leading the IP. We’re excited for the upcoming developments from Preston and her team.”

UK comic book publisher Rebellion launches fundraising t-shirt to support London’s The Cartoon Museum through Covid-19 crisis

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Rebellion, the renowned publisher behind one of Britain’s biggest comics, 2000 AD, is raising funds to help the UK’s only musem dedicated to comic books survive the current Covid-19 pandemic. In an effort to support The Cartoon Museum in London, the outfit has launched a special t-shirt bearing classic art from the heyday of British comics.

The new T-shirt is available exclusively from the 2000 AD and Treasury of British Comics web shops and features the cover of Battle Picture Weekly #423 (cover date: 11 June 1983) by the artist Eric Bradbury. As well as the museum’s own logo, it features the cover from the Invasion 1984 comic strip, depicting a Piccadilly Circus invaded by aliens.

All profits from the sale of the shirts will go towards the independent museum’s £150,000 fundraising appeal, which seeks to help it through the difficulties caused by the Covid-19 pandemic and lockdown.

The Cartoon Museum’s director, Joe Sullivan, said: “We are incredibly grateful to our friends at Rebellion for their kind offer to help with fundraising towards The Cartoon Museum’s survival during this difficult time. It is humbling to receive support from our peers and colleagues in the UK comic and cartooning scene, and shows the depth of feeling for the museum.

“We hope Rebellion fans and our visitors love the brilliant shirt design, and look forward to continuing to work with Rebellion in the future.”

Jason Kingsley OBE, the CEO of Rebellion, said: “Comics have a vital place in Britain’s culture and heritage, and The Cartoon Museum does great work protecting that legacy, preserving it for future generations, and showcasing the best creators of today. The heritage sector has been hit really hard by Covid-19 and the subsequent lockdown, and so we’re delighted to do what we can to help this nationally important museum survive and thrive.”

75 per cent of the museum’s yearly income is from admission, shop purchases, school visits, and venue bookings. However, since its closure on March 18th at the hands of the pandemic, the museum has been hit hard, with no regular government or local authority funding to supplement it. When visitors do return, the museum is expecting an 80 per cent drop in numbers.

Such a big expected drop in revenue, along with the longer-term impacts of COVID-19 on key audiences for the museum such as schools and overseas tourism, has huge implications and so The Cartoon Museum is fundraising to survive the closure period.

Set up by the Trustees of The Cartoon Museum, so far the fundraising appeal has raised £86,000 towards a total goal of £150,000. Various contributions have come in the form of small grants, proceeds of a half marathon, cover price and book sale reductions from publishers close to the musem, proceeds from a sale of one-off comic art, and donations from friends and the public.

In July 2020, the museum announced an award of £98,700 from the National Lottery Heritage Fund.

The Cartoon Museum champions cartoon and comic art, highlighting its importance to culture and society. Since 2006 it has received 420,000 visitors, and built a nationally important collection of 4,300 cartoons, comics and caricatures, and a library of 18,000 items.

The Cartoon Museum runs a well-attended school programme and sell-out school holiday workshops, and over 50,000 children and adults have attended cartooning, comic and animation workshops and the museum receives 3,000 student visits each year. The museum is a registered charity.

If you would like to help secure the museum’s survival, you can donate to the appeal at www.cartoonmuseum.org

Licensing International hosts first Diversity & Inclusion Workshop and launches toolkit to encourage a more diverse industry

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The licensing industry’s trade organisation, Licensing International held its first Diversity & Inclusion Workshop this week where it brought together leading minds in the business to discuss the challenges and opportunities for companies looking to better enhance diversity and inclusive practices.

It was Madeline Di Nonno, CEO of the Geena Davis Institute on Gender in Media at Mount Saint Mary’s University who kicked off proceedings with a presentation of the findings of a recent study of diversity in the licensing industry, commissioned by Licensing International.

Among other findings, the research shows that while 30 per cent of companies surveyed currently have a Diversity & Inclusivity programme, only 10 per cent have budgeted financial support to those programmes.

“If you don’t measure, you don’t you have any substantive understanding of where things stand or a benchmark by which to gauge success,” said Maura Regan, president, Licensing International. “This research is the crucial first step in creating real, lasting change in our companies and the global licensing community as a whole.”

The full research study is now available for download at www.LicensingInternational.org.

Following the presentation of the research results, newly elected Licensing International Board Member Steven Wolfe Pereira, CEO and co-founder of Encantos, was joined by Petco’s chief marketing officer Tariq Hassan, for a screenside chat about what it means to create an organization that is truly inclusive and how to go about doing it.

“You cannot only do this from executive-level down,” said Hassan. “If you want to tell people to bring their authentic selves to work, you’ve got to allow them to have a place to express it, and you’ve got to allow it to then influence the decisions of the company. … ‘You don’t have to ask for permission to be who you are’ – we have to create a culture that celebrates that insistence. When you put it that way, it stops being about what’s wrong, and it focuses on the energy and creativity of what’s right.”

The panelists who participated in the third part of the event echoed that sentiment, and shared details about how they are nurturing diversity at their own companies. They included: Bryony Bouyer, senior vice president, Diversity & Inclusion and Multicultural Strategy at Hasbro; Cindy Levitt, senior vice president of Licensing, Mad Engine LLC; Dolores Ordas, vice president of People and Culture, Mad Engine LLC; and Eric Ueno, SVP of Human Resources of Hot Topic Inc.

Much of the conversation throughout the event centered on where and how organisations can start to take action. To that end, Licensing International is proud to share its new Diversity & Inclusion Toolkit, developed in conjunction with the Geena Davis Institute on Gender in Media.

For the next month, Licensing International is making this Toolkit available to the global licensing community at large, after which time it will continue to be available to Licensing International members and partner trade organizations.

 

Spotlight Licensing’s Carole Postal: “Our industry is strong and I’m heartened by our coming together to weather the storm”

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Spotlight Licensing isn’t only known for its portfolio of properties boasting major fan bases and audience numbers both sides of the Atlantic, with the likes of Call the Midwife, Downton Abbey, and Boo – The World’s Cutest Dog among them, but also for its crack team of professionals that, when it comes to licensing, knows its business inside out.

But when you’re led by the nine-time LIMA Licensing Excellence Award winner, Carole Postal – a name now synonymous with not only the US but global licensing business – little else could be expected. Sitting among the upper echelons of Spotlight Licensing is Jodi Gottlieb as senior vice president, and Ken Wong, director of marketing, all of whom have been working together for the last 20 years. With such as history in the space, it makes sense that this is a team that has seen licensing evolve through its many – and ever changing – forms.

Licensing.biz catches up with Carole Postal, president of Spotlight Licensing to talk about her history with licensing, the quick reflexes of the industry as a whole in the face of the pandemic, and how it is the struggles and hardships of uncertain times that forges better and lasting relationships in business.

It’s a formidable trio, and a great team you’ve built around you Carole. How many years in the making has Spotlight Licensing been? Where did it all begin for you?

Formidable – I like that! We really do have a great team. Jodi, Ken and I have been working together for over 20 years. We’ve built on each other’s strengths and areas of expertise and work very efficiently together. And, importantly, have fun!

 I started out in the business working in entertainment licensing and then my husband and I built up our agency starting with retail consulting for the big entertainment companies and their blockbuster films. Licensing quickly became part of our core responsibilities eventually overtaking the retail consulting aspects and we developed from there.

My husband, Robert Postal, was, of course, a big part of the agency right up until his passing and we’ve had other employees who’ve gone on to great careers in the industry as well of which we are most proud. The agency business is all about being able to deliver results and I’m incredibly proud that our team has been able to build successful licensing programs for our clients for so many years.

How has business been for you guys over the last few months? We’ve seen a tremendous amount of resilience, adapting and evolving in a short space of time in the face of the pandemic, what has been Spotlight’s approach throughout this period?

We’re just now starting to see actual reports with numbers on how Q2 royalties were affected by the pandemic but it’s obviously been a challenge for retailers, licensees, and everyone up and down the chain.

Fortunately for us, products are still being made and sold and we are still getting deals done even if it takes a little more patience, perseverance, and willingness from everyone to make mutual accommodations during this unprecedented time. We are all in this together as a world and all adapting and making changes as we go along. It is a great opportunity for all components of the licensing equation – Licensor, Agent, Manufacturer, Retailer, and Consumer – to all work together for the common good.

How have you seen the licensing space evolve not only over the last year, but over the past four months? What do you think will be a lasting impact on licensing, retail, and the relationship between the two?

Licensing is always changing and evolving and introducing newness – that’s one of the aspects we all love about this industry isn’t it? Consumers and retailers are constantly looking for ‘what’s next’ – and licensors and manufacturers will continue to find creative ways to provide that through new licensing opportunities, new products or new twists on old favourites.

Even in the middle of a pandemic, Spotlight has been able to work with licensees on new BOO The World’s Cutest Dog plush from Gund and gorgeous hand-made Italian eyewear inspired by Downton Abbey from Bonavista Optics just to name a few. But we’ve definitely seen a lot of changes over these last few months as well: greater online shopping; delayed release of upcoming film properties; and, of course, the sudden but logical emergence of face masks as a licensed product category here.

Our industry is strong and resilient and I’ve been heartened by the way licensors, licensees,  manufacturers and retailers have all been working together to weather the storm so, ultimately, I think we’ll see the relationships between all four as strong as ever after this is all over.

You’ve got an enviable portfolio with quite the UK connection going on. How is your portfolio reflective of the US market right now? What do you look for in a license? What do you look for in a licensing partnership?

As a boutique agency, we pick and choose our clients carefully because each one is so important to us. Our portfolio is built on properties we personally like and understand and believe in because that gives us the edge when strategizing and talking to manufacturers and retailers about the opportunity.

As you can see from our portfolio, we definitely have an empathy for British entertainment and have built a reputation for understanding how to translate niche properties into licensed products that American audiences will like. But it doesn’t matter to us whether the property is British or French or Korean or as American as apple pie, as long as it is well done and the brand brings something special.

 

When you’re not busy winning LIMA Licensing Excellence Awards Carole, you’re either co-founding a business, sitting on the LIMA Board of Directors, or taking your place at the Board for the Delivering Good organisation and its Women of Inspiration initiative.

Can you talk us through the work you do with Delivering Good? Why is this so important to you?  

I believe each and every one of us is responsible for each other and can find a way to help so I decided nearly 12 years ago that I would find a way to help people through my contacts in the licensing business on a global basis. I always say that licensing is about stuff. Since Delivering Good is dedicated to getting stuff to the people who need it – whether their need arises because of poverty or disease or disaster or some other circumstances – I knew that I and the rest of the licensing industry could really help with Delivering Goods mission.

My involvement started out with product donations and just kept growing. In addition to being a Board Member, I co-chair the annual Women of Inspiration luncheon honouring women executives for their achievements and philanthropic efforts.

I’ve always felt no one is more supportive of others than the licensing industry and that faith has truly been borne out in how manufacturers and retailers and others in the industry have responded over the years and in response to COVID-19 in particular.

Our industry trade organization, Licensing International, has been incredibly supportive overall not to mention all the wonderful  manufacturers and retailers and individuals who donated products or provided financial support for shipping those products to where they need to be. You all know who you are reading this article so allow me to say thank you and to remind everyone that the need is never greater than it is now.

You’ve mentioned new areas of manufacturing and masks etc. Can you talk us through Spotlight’s efforts in this capacity? What lasting effect do you think this will have on the licensing space?

The pandemic made masks a ‘must have’ accessory so it was inevitable that licensing would be there to bring a little fun and fashion to mask-wearing. In Asia, masks have been accepted as part of regular flu precautions for years so I think there’s a good chance masks will stick around as a licensed product category in the US and Europe as well.

To me, this is just another example of how quickly a new consumer product category can emerge and a reminder of why people in licensing have to stay informed about developing trends as well as trends from other regions and be prepared to act quickly when unexpected opportunities arise in your own market.

 

A few quick-fire questions to round us up, then. What would you say has been the proudest moment of your career in licensing to date? 

In truth, one of my proudest moments was being one of the very first women in licensing to start her own company which transitioned from retail consulting, which no one was doing at the time, into a full service licensing agency.

Remember, 25 years ago women were not founding their own agencies and certainly not without the backing of a major studio or property. The licensing industry has always embraced and recognized the strength of women and I’m proud that this industry has been supportive and thus afforded young women a place where they can grow and be successful.

What is the best part of your job? 

My favorite part of the job is working with my team and our licensing partners to turn an idea or concept into a great product that performs well on retail shelves and/or online sales.

The typical fan who buys licensed products will probably never realize how many different things – the multitude of people and decision and challenges – involved in getting that product to market but we do, and my team and I still get a real thrill out of seeing it all pay off in the end.

What advice would you give to someone looking to break into the licensing industry?

My advice to anyone looking to break into the licensing industry is to be an observant consumer…staying on top of trends, keeping your finger on the pulse of pop culture, identifying overlooked or underappreciated audiences, and applying your talents – whether as a creator, lawyer, designer, marketer, accountant, licensing agent or whatever – to the opportunities outside your immediate universe.  Carpe diem!

 

The Point. 1888 names Becky Langer its new senior commercial manager

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The Point. 1888 has expanded its commercial team with the appointment of Becky Langer to the role of senior commercial manager. Langer joins from Hasbro where she held the position of retail development manager.

With 14 years of licensing experience at high profile companies, such as Warner Bros, HIT Entertainment, and Character World, Langer’s appointment has been described as a significant one for The Point. 1888.

Under her new role, Langer will report into the head of retail and softlines, Hannah Stevens, who was last week awarded Licensing International’s prestigious Rising Star Award. She was the only representative for the UK and European licensing community.

It’s notable that The Point.1888 has found itself to be resilient to the effects of the pandemic, something the company has attributed to its retail-first approach and brand-manufacturer pairing process. In some cases it has delivered increases in sales for clients’ products over the last few months.

Hannah Stevens said: “More so than ever, in the current climate, our team is working with amazing speed and enthusiasm on identifying strategic partnerships with retailers and licensees to drive the company’s growth plans, and fill gaps for our brands. We have to continue to innovate and deliver brands that are reflective of trend, but also have the longevity to inspire the customer to repeat buy year on year. It’s a tall order and the reason why we’re growing our team at this time.

“Becky brings a huge wealth of knowledge and expertise from her licensing career to this Innovative and forward thinking team.  Her tenacity, positivity and creativity make her a fantastic fit not just for my team, but for the agency as a whole and I’m so excited about the possibilities that lie ahead.”

Langer added: “Having been in the industry for 14 years, I’ve watched The Point.1888 emerge and establish itself as an industry leader in record time. It’s clear why when you see the capability of the team and the business model they’ve adopted. It’s also incredibly refreshing to be part of an organisation that operates with such integrity and kindness, not only in business but also in how they treat their team.

“The portfolio is full of exciting, beautiful and diverse brands so there really is something for everyone without being limited to certain genres or demographics.  I cannot wait.”

Established in 2014, The Point.1888 delivers retail focused brand extension programmes by creating new products based on the gaps it sees at retail, rather than what it thinks the brand’s target demographic might like. This supports a higher chance of retailer buy-in and a better sales performance.

 

GoldieBlox prepares for rapid growth with new exec team and focus on consumer products

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The toy firm turned media and entertainment powerhouse, GoldieBlox has made a suite of new appointments to its leadership team as the company prepares for rapid growth in the coming years, including further moves into the consumer products sector, led by its new EVP of operations and partnerships, Tim Erickson.

Having started out from humble beginnings on Kickstarter back in 2012, GoldieBlox has evolved into a media and entertainment powerhouse that aims to lead the gender equity charge for girls in STEAM.

As the company has grown, so has its charge to inspire and educate girls around the world to follow their STEAM dreams. The expansion of the executive team reinforces GoldieBlox’s commitment to creating content, products and partnerships that move the needle for girls to get interested in STEAM as a passion, hobby or career.

“I am incredibly excited to lead this experienced team as we build on our current success to take GoldieBlox into the future,” said Debbie Sterling, founder and CEO. “As we enter a growth phase, each of these executives brings a unique and complementary skill set to the company.”

The new appointments to the leadership team, include naming Peter Pergola as its new operating partner. The former COO of The Arca Group also assumes a seat on the Board of Directors and will bring a wealth of experience across the developments and commercialisation of IP.

“I am thrilled to join GoldieBlox in the journey to continue to build the original IP the company is known for,” said Pergola. “As a father to two young daughters, the mission of GoldieBlox is incredibly important and timely. We have a few very exciting commercial opportunities rapidly emerging, and I’m also thrilled at the fast traction we are making across the media investment landscape.”

Meanwhile, Melissa Schneider has been named chief content officer, where she will oversee content development, production, and platform partnerships. Schneider was most recently EVP at digital studio New Form, where she built the development slate and production team from the ground up and led the creative development and licensing efforts for two of the first digital to linear series deals with Final Space for TBS in 3rd Season and I Ship It for CW.

Ferrell McDonald joins as chief marketing officer to oversee brand development, digital and traditional marketing, communications, and experiences. McDonald comes to GoldieBlox from Tinder, where she served as CMO for the popular dating app. Her previous experience also includes senior marketing roles with Starz and Nike.

Tim Erickson fills the newly created role of executive vice president, operations and partnerships, where he is tasked with creating brand experiences for GoldieBlox partners through consumer products, innovative retail, and immersive storytelling. In addition, Erickson assumes responsibility for business development and the company’s operations. His previous experience at DreamWorks and Fox involved creating original merchandise and brand experiences.

Finally, Elizabeth Miller has been appointed creative director to develop the company’s brand narrative across functions and partners. Miller has served in senior creative and marketing roles at 20th Century Fox, Warner Bros., Cloudco Studios, Hasbro, DreamWorks Animation, AwesomenessTV and Disney.

GoldieBlox is a media and entertainment company using storytelling to make STEAM fun. It aims to educate and empower young girls by sharing tools to build their confidence and their dreams. Through products, content, partnerships and programs, GoldieBlox aims to close the gender gap in STEM.