Licensing International’s Graham Saltmarsh on the shape of things to come for the UK’s licensing scene

One month into his new position as MD of Licensing International’s UK division, the licensing industry stalwart Graham Saltmarsh has already begun to cook the plans with which he aims to give the organisation the shake up that the year 2020 has required of it. Whether it’s the proposed introduction of master classes from the industry’s leading experts, or the plans so clandestine he simply can;t share them yet, there’s one thing that Saltmarsh promises, they certainly won’t be boring.

As the world now begins to find new footing in the shifting sands of current events and develop and fine-tuned what has been dubbed ‘the now normal’, so too does Licensing International’s UK arm look to move with them.

As Festival of Licensing gets underway today, celebrating the global licensing industry with a month-long virtual experience of content from each of its corners, Licensing.biz grabs its moment to talk with Licensing International UK’s new managing director, Graham Saltmarsh about his own plans for the role, his proudest moments in licensing, and why his mates thinks he works in a pub.

So, MD of Licensing International’s UK division – that’s a great title to have. What does the move mean to you?

I have been talking to Licensing International for a while about how we can help promote licensing as an industry, not only within our own ranks but to a wider audience. I have worked in licensing for many years and still when I explain what I do to people outside the industry they either say “Oh, so do you work in a pub?” (sometimes!) or they say “your like Tom Hanks in Big and you just play with toys all day” (if only). I am very excited about my move to Licensing International and I’m looking forward to making people see the benefits of licensing and how amazing we are as an industry.

Bringing an established industry figure such as yourself to the fold is quite the win for Licensing International, too. How will this, and you, help shape a new era for Licensing International?

I intend to start with the basics and make sure we are getting these right, I have been in touch with as many Licensing International members as I could get hold of to ask what we are getting right and what we could do better, we need to provide our members with information and services that they actually want and will find useful. Even non Licensing International members have been in touch to offer their opinions (there are no wall flowers in licensing).

I have had a very exciting and varied career in licensing and so many people have helped me along the way so working with Licensing International, it feels like I am able to give something back and build a stronger more recognised industry.

An illustrious career across the licensing industry to your name, what spurred the move over to this side of the business? And what learning do you think you will bring to the table to shake things up for the UK division?

When you work for a big organisation there is a lot of pressure to bring in the next deal or launch the next big property but this huge pressure sometimes means that properties are launched too soon or with not enough research / insight or with the wrong partner. Licensing International has terrific global insight and can help put property and product launches into a bigger perspective which hopefully reduces the risks.

I have plans for short master classes (30 mins max) from industry experts and from people outside of our industry to give practical help and advice, I have some exciting plans for 2021 but it’s a little too early to reveal them just yet but you know me, they won’t be dull…

It’s been a… funny old year, that has seen big changes across licensing – what do you make of the resilience of the UK licensing space in the face of the pandemic and the changes it has brought to almost all aspects of the business – from retail, to what licensing means in 2020?

The old adage, Fail to prepare then prepare to fail, has never been so true. Some companies I have spoken to immediately embraced the new normal and pivoted their business to a more online proactive way of doing business while some have sat and waited to see what happens.

Some areas have found life tough but the counter balance is that the games, wheeled, puzzles, art & craft, apparel and many other areas have seen very positive results. Licensees are never slow to spot an opportunity (branded face masks) so I am very positive about the future. Retailers still need to sell product so are more open than ever to offer their customers something a little different or special. The Natural History Museum and Roald Dahl collaboration with M&S is a great example.

It’s been a period that has sped up a lot of those more inevitable changes, i.e, the lean in to digital and virtual platforms – how have we seen the licensing space adapt and evolve? What of these changes do you think the industry will carry with it going forward?

I’m sure I’m not alone in saying I was dreading moving to online meetings with all the potential technical pitfalls, I would normally be calling for the IT team because someone wanted to actually see me on my computer… However, the reality is that we have all had to just get on with it and learn new skills and it looks like we will be working from home for some time to come.

I do miss the buzz of a trade show and the unexpected corridor meetings but as these can’t take place at the moment we have to try new things and the online Festival of Licensing will just be another thing we will have to get used to for the time being. It’s difficult to see how the UK leaving the EU will effect business and in turn how this will effect the Treaty of Rome, tariffs, cross border shipping etc, but we are a very nimble and adaptable industry, so I’m sure we will survive.

As big a negative impact the situation has had around the world, there’s a sense of excitement around the potential that changes have unleashed in certain areas of licensing – what stands out the most for you in terms of the UK space?

There are so many changes happening, from multiple source manufacturing (some companies had 100 per cent of their manufacturing in China), smaller companies embracing on-line retail and using sales data to show bigger retailers there is a market for their product, the licensing industry has always been brilliant at innovation and this doesn’t seem to be slowing down during the pandemic if anything people have had a chance to pull back and allow themselves some thinking time which I highly recommend.

What will Licensing International’s role be moving forward in helping the industry adapt and evolve with the changes?

My role with Licensing International will be to offer my UK members insights (there are many reports available to our members!), support, education and somewhere they can just bounce ideas around with like minded industry people. It’s important to know that you have somewhere to turn to if you have questions, if  you want to know who the best person to talk to about counterfeiting, trademarking, design, distribution, promotions and the many other questions I have been asked already. I will listen to the needs of our members and adapt as necessary as we all have been doing.

What are you most looking forward to for the coming year and in the position that you are in? What’s been the proudest moment of your career to date?

I am most looking forward to getting back in touch with the many friends and colleagues I have in the licensing industry and seeing what I can do to help them grow their business and grow the industry.

There are so many things to be proud of, when we won an award at the Licensing Awards – this is the industry we work in saying you are doing something right, I am a very proud supporter of the Light Fund which pulls the whole industry together to raise money for incredible causes. Sometimes it’s the smaller things, like seeing a kid in the street carrying a toy we have developed or wearing a T-shirt for a property we have built up over many years.

I don’t know if proud is the right word but I know a lot of people in the licensing industry called around their friends, colleagues and “competitors” during lockdown just to check in and make sure they were alright – this is the industry I’m proud to work in.

Anything you’d like to shout about?

No I think they will have had enough of me by now….

Roundtable: Creating a brand with longevity and the factors that build a programme with steam

Richard Pink, Ashley Holman, Nikki Samuels, Gabrielle Sims, and Asda/George children’s buyer, Ruth Golightly, are among the licensing experts taking part in a specially curated panel session at next week’s Festival of Licensing, exploring the topic of brand longevity and the multitude of factors that need to be aligned in order to nurture one.

Titled, Building a Long-Term Programme: What do Licensors Need to Do? the session will be available from 9am on Tuesday, October 6th, and will be available to view on demand for 30 days afterwards.

Licensing.biz spoke to all five ahead of the session to offer up a flavour of the topics, conversations, and conclusions that viewers and attendees of Festival of Licensing can expect from the special panel session. So settle in and get your first taste of what’s to come here. Remember, licensees can register to attend for free at www.festivaloflicensing.com

Hello, firstly, to the four of you and thank you for taking the time ahead of what’s looking like a busy four weeks for us all!

To kick off the conversation and give us a flavour of your panel session, let’s jump right in to it. So, can you tell from the outset when a brand is going to have longevity? And if so, what are the key markings of an ‘ever green’ brand?

Richard Pink, MD, Pink Key Licensing


Richard Pink, managing director, Pink Key Licensing: I think it will always come down to the motivation and commitment of the brand owner to put the elements in place, anyone else in the licensing chain will feed off this but if it isn’t there then the brand will struggle regardless of how strong it is. 

Ashley Holman, managing director, Riverside Brands: In terms of new brands launching this is very hard to tell, but if an established brand is getting into licensing for the first time it is easier to tell by looking at how they are entering the licensed market. If it is through considered, well thought out brand extensions that make sense to the core brand values, then it has a chance to build for the long term versus quick win deals that aren’t meaningful to the core values.

Nikki Samuels, CEO, Factory: Evergreen Brands understand what their consumer wants. You can’t tell from the outset if it’s going to be an ‘evergreen property’ but if the brand makes the consumer feel like a hero and positions itself as a guide there is a chance it will have longevity.

Ruth Golightly, head of buying, children’s clothing, ASDA/George: I do get a gut feeling for what will be successful in my section of retail. I engage with licensees and other buyers at my company in other categories to get their thoughts, but you never really know how much longevity brands will have as the customer now wants new and different more often.

Gabrielle Sims, head of licensing, FatFace: I’m a firm believer that a brand that has a strong identity and if it evolves with consistent and clear brand values it will always run the test of time. It’s key that brands listen, inspire and engage their core target market without compromising their values and brand promise.

Ruth Golightly, head children’s buyer, Asda/George

So looking at the big picture then, what role would you suggest each element of the brand creation process – from licensor to retailer – have to play in creating a brand with longevity? 

Richard Pink: The more disparate the elements become, the more difficult it is to have a cohesive programme. The closer communication between the parties, the more a brand programme will become greater than the sum of its parts

Ashley Holman: They are all intertwined, and one doesn’t work without the other. The licensor needs to be clear on the brand positioning and what the consumer might like to see in terms of licensed extensions, as well as provide the tools needed for licensees and retailers to activate through internal resource, style guides and so on.

The licensee needs to have a good understanding of the brand, design interesting and exciting products as well as present to retail in the right way. The retailer needs to buy in to the overall concept, dedicate adequate space in store for it to be visible and not get lost on shelf and support in store where possible.

Nikki Samuels: The licensor must have a very clear strategy and a plan for the brand and who its consumer is. This must be communicated with all the licensor’s partners. If you confuse you lose, not having a clear plan is a guaranteed way to lose longevity.

Ruth Golightly: The most important thing is communication, and listening to ensure you all have similar goals, timing is also a key element.

Gabrielle Sims: All elements of the process have to play their part. It’s really important for brands to partner with the right companies and retailers that have the same vision and goals.

Nikki Samuels, CEO, Factory

So it’s communication, cohesion, and stringent planning. How then do you nurture a brand with longevity through licensing? How important is it to get this element right?

Richard Pink: This is everything and it’s all about patience and doing the right deals to enhance the brand value. Delivering a long-term strategy sometimes means turning down short term financial deals if they don’t fit. 

Ashley Holman: Considered brand extensions versus label slapped quick wins is crucial.

Nikki Samuels: Brands need to be nurtured with great partners that are all working towards the same vision for the consumer. When the consumer interacts with a brand they want to know how this brand can make their lives better.

Ruth Golightly: As a retailer, it’s important that the brand has a presence across all channels – physical stores and online. At Asda we ensure we have a credible offer on George.com across many categories such as clothing, nightwear, toys, home and accessories, so that the customer can buy into the brand for every aspect of life.

Gabrielle Sims: Brands don’t evolve overnight. It takes time and a lot of love and effort. Like anything, the more time and investment you put into a brand, the more you get out of it. It’s so important to listen to your customer, gain trust, and have a clear vision on where and how you want your brand to seamlessly evolve into for licensing.

Your panel session is going to be delving into the topic of ensuring your brand has steam as a key element of creating a brand with real longevity. In such a competitive space that licensing now is, how do you ensure your brand has steam? 

Richard Pink: Always go back to core brand values, as these are the things that differentiate it from other brands. Also, identify the consumer – that way you can match the two together with the right product. 

Ashley Holman: Refreshing of creative and other marketing assets to keep things fresh for the end consumer, even if the brand itself remains consistent.

Nikki Samuels: Brands have to become part of a consumer’s life and be trusted. In today’s world, with so much competition, being authentic and speaking directly to the consumer, making them feel like a hero, will gain steam. Brands that position themselves as heroes don’t last long, they need to be positioned as the guide.

Gabrielle Sims: One of the hardest and challenging things to overcome these days. But if you have a strong brand, loyal customer base and you stay true to your core values, innovate and excite, you are set to come through the other end.

Do you think a brand’s staying power be curated through licensing alone?

Richard Pink: Yes, but it’s harder and there has to be a commitment to delivering everything that is necessary to provide resources to the licensing chain. That’s a how a brand like Pan Am can stay relevant, long after the planes have stopped flying.

Ashley Holman: To a degree, if the strategy is executed correctly then the licensed product itself can become so intertwined with the core brand offering that it can live on, even if the original brand heritage wanes.  

Ashley Holman, MD, Riverside Brands

Nikki Samuels: Definitely not, licensing is only a part of a brand’s marketing and it’s very important that the right consumer products that fit the brand’s values are licensed. Products that don’t fit with brand values will confuse the consumer. 

Gabrielle Sims: Yes, if curated properly – having key strong partners that work together and communicate is key. It’s about partnership, long term vision and investment by all.

What is it that consumers are consumers from their brands today? 

Richard Pink: Value and imagination. The consumer is way too savvy for label slapping, they have strong associations for some brands, and they want them reinforced by the product they see.

Ashley Holman: Authenticity, interesting extensions and something that is relevant to the core DNA of the brand identity.

Nikki Samuels: I believe consumers want brands that they can trust and know what they are doing. They want to know if investing their time and money in this brand will be worth it.

Ruth Golightly: Customers want trust in a brand they are buying into, whether that’s knowing the ethics and sustainability ethos of a brand, or knowing that products are the right quality they expect.

Gabrielle Sims: Consumers expect so much from brands. The obvious being quality, price, loyalty, transparency and sustainability, but today brands need to be nimble and convenient too to allow for that ‘ instant’ ‘I want it now’ turn around.

How has this changed the boxes that need to be ticked to become a brand with longevity?

Richard Pink: It really hasn’t – you just have to be firm of what the appeal of your brand is (which could be many things) and keep delivering on it in spades. Oh, and keep innovating!

Gabrielle Sims, head of licensing, FatFace

Ashley Holman: It hasn’t really, those brands that have stood the test of time, especially those with extensive licensing programmes have always adhered to these principles. They may have just moved with the times in terms of new categories and marketing techniques, but the principle remain the same.

Nikki Samuels: I think that brands now have to have clear values and guide their consumers how to interact with them every day because they are making their consumer’s lives better.

Ruth Golightly: It’s not just about selling ‘stuff’ anymore, it’s about a lifestyle that customers buy into.

Gabrielle Sims: I don’t think this has ever changed I just think brands are under more pressure to deliver on all levels. Especially speed to market.

Available on demand from 0900 Tuesday 6 October at www.festivaloflicensing.com – attendees must register in advance to access the platform and all of the Festival’s content.

Building a Long-Term Programme: What do Licensors Need to Do?
Nikki Samuels, CEO, factory
Ruth Golightly, Head of Buying, Children’s Clothing, Asda/George
Ashley Holman, Managing Director, Riverside Brands
Gabrielle Sims, Head of Licensing, FatFace
Moderator: Richard Pink, Managing Director, Pink Key Licensing

And the West will follow: Life and licensing for Crunchyroll at the forefront of the anime explosion

Leading the charge of an estimated $20bn anime market is a rather pretty place to be sitting at the best of times, but with this value only expected to grow as the popularity of the Japanese art form continues to sweep across audiences to the West, it’s undoubtedly a large grin that spreads across the faces at Crunchyroll right now.

With the largest community of fans – that’s more than 70 million registered users – and 3 million paying subscribers on the books, Crunchyroll is well and truly at the forefront of the anime and manga popularity explosion. Not only does it boast the world’s largest collection of anime, including more than 1,000 titles and 30,000 episodes, but it is engineering further growth across the market with development in the distribution, events, and licensed games channels, too.

John Leonhardt, head of consumer products at Crunchyroll

The plan, according to John Leonhardt, head of consumer products at Crunchyroll, as he speaks exclusively with Licensing.biz, is now to “elevate anime into an extraordinary lifestyle,” and doing so by licensing it in to theatrical, TV, consumer products, and video game markets – jumping on the opportunity that has seen the pop culture genre become an international sensation over recent years.

“Anime continues to grow in popularity all over the world,” Leonhardt tells Licensing.biz. “We see anime’s evolution from an exclusively Japanese category to a worldwide sensation as one of the most fascinating case studies in modern branding history, and a testament to the power of anime’s ability to tell rich, captivating stories.”

It’s certainly helped the genre’s cause that the last decade has seen the geek culture shake off its stigma to become fully embraced by the mainstream today. Among its globally-spanning audience, high profile names including John Boyega, Michael B Jordan, Megan Thee Stallion and even the wrestler Xavier Woods have outed themselves as celebrity fans of the medium. 

And yet, there is still room for anime to grow.

“We recognise that adult dramatic animation is still in its infancy here in the West,” continues Leonhardt. “Anime is so much more than one genre – it’s a storytelling medium that crosses many genres, including sci-fi, sports, thriller, adventure, action, romance, and more.”

Having been recognised as ‘the world’s best home for anime’ for over ten years now, Crunchyroll recently crossed a major milestone when it landed its 70 millionth registered user and three millionth subscriber; a demonstration, it says, that “the growth of anime shows no signs of slowing down.”

Part of WarnerMedia and having acquired Viz Media Group only last year, Crunchyroll has not only expanded its suite of brands and capabilities in a very short time, but has also become a world leader of the anime medium, with roots embedded in markets across the globe. That’s not bad for a company that started out life as a content sharing platform based in San Francisco some 14 years ago.

In the coming year, Crunchyroll is expecting to see its diverse slate of anime series, as well as its continued collaboration with the European arm, Crunchyroll SAS, to drive significant growth for the overarching company. In Europe alone, Crunchyroll SAS has plans to deliver merchandising programmes for key IP in library, including My Hero Academia and Captain Tsubasa, focusing on publishing, apparel, figures, toys, stationery, back to school, accessories, homeware, and health and beauty.

“Crunchyroll SAS will also tap into the broader EMEA network of partners across live events, gaming and more to enhance a fast-growing licensing plan and a strong retail presence supported by marketing activations across Europe,” says Leonhardt.

2020 may have served up its fair share of challenges for all to handle, but Crunchyroll has remained resolute in its mission to deliver anime to the global community, even when it meant transforming its Crunchyroll Expo into the first-ever Virtual event. On top of that, the firm has secured distribution partnerships with Cartoon Network in LATAM and TNT Comedy in Germany, while Crunchyroll Games has made its library of anime-inspired games available to the international audience.

“We put our fans first,” continues Leonhardt. “Being everything for someone and making sure we deliver the best of anime to them is what makes us successful.

“The licensing business is being driven by product and experiences, the pandemic has seriously disrupted some of the planned strategies for 2020/2021, leaving licensing and retail businesses particularly exposed.

“This disruption pushes us and our partners to explore a number of new creative options to enable the same experiences online or virtually. This change was actually predictable and already going on, but let’s say that the world situation we’re all facing today has accelerated the process of finding ways to keep our community in.”

It’s that community, that 70 million worldwide, Leonhardt understands, is what is at the heart of the anime boom right now. A fervent collective of fans, all of whom are looking for means to express their fandom. This is what Crunchyroll is servicing today.

“In addition to a deep library of titles, Crunchyroll has a passionate global community that love to wear their fandom as a badge of honour,” says Leonhardt. 

“Between the new content coming to the platform, Crunchyroll’s increasingly global presence in the anime industry overall, and Crunchyroll’s continued commitment to building out 360-experiences for the anime community with consumer products, live and virtual events, games, and more, the future looks bright for the year ahead,” he concludes.

Fruit pickings: Richard Pink talks the history and future of the Vimto brand in licensing

With the tagline ‘Seriously Mixed Up Fruit’, Vimto already spans a wealth of foods and drinks from Vimto Fudge packaged in artwork that will take consumers on a trip through the brand’s history, to the more contemporary looking, and sounding, Vimto Candy Spray. But with a new licensing agent in Pink Key Licensing and the food and beverage licensing specialist, Richard Pink himself, the Vimto brand is about to embark on a seriously new venture entirely.

It was earlier this month that Pink lifted the lid on his company’s new partnership with the Vimto brand, appointed to manage the non-food activity for the 110 year old brand here in the UK, marking the first time in its history that Vimto’s logo, slogans, and imagery would be thrust into the licensing limelight.

Armed with a library of designs spanning more than a century of Vimto, the programme, Pink declared, will cover both the depth of the Vimto archive, as well as the design and style of the contemporary brand. Now, as Richard Pink, MD of Pink Key Licensing prepares to showcase the brand’s style guides at the upcoming Festival of Licensing, Licensing.biz takes its chance to talk with Pink about how he got himself seriously mixed up with the fruity new brand.

Hello again, Richard! It’s clearly a busy year for Pink Key Licensing this year. Can you talk to us about the latest addition to the portfolio then, what attracted you to the Vimto brand and what does it bring to the Pink Key offering?

Vimto is a brand that I’ve always felt was a good fit for us. Its combination of heritage and contemporary styling as well as the product categories it lends itself to fits brilliantly into the business model we have already developed for our other brands. At the same time it has some unique features that mean that there is little or no conflict with our existing portfolio. 

What does the Vimto brand bring to the licensing space, spanning its 110 year heritage and its contemporary appeal?

While there are a number of brands that have heritage programmes, there are very few who also continue to change and develop the way that Vimto has. This is a unique combination that gives it the broadest possible appeal to the older consumer who will be drawn to the heritage aspects that play into what they remember growing up, but also the younger generation who see it as a brand for them. In addition there is an ‘Englishness’ about the brand that is at the core of its identity. 

So why is now the right time to be bringing the Vimto brand into the consumer products space for the first time? And, what are your plans to make this an impactful launch into the market?

The launch now is because the brand feels that the time is right for them – they have a proven track record of food licensing that they have made a great success of and they can see the value in also leveraging their unique heritage to consumers who have grown up with the brand. Our plan is to identify the categories and products that are the most natural fit for Vimto and build a platform from there for the long term. 

What is the strategy for tapping into both the heritage/vintage style of the brand, as well as its more modern look? 

We are very lucky as we feel like we have two distinct audiences to go after, and while there will be some product overlap it will mean the range of categories and styles will be bigger than it would have been with, for example, just the heritage.

If we know the kind of brands that catch your eye, Vimto will be one with a rich history and story to tell… How will you be telling that story through its licensing programme?

It think that’s going to come down to the licensee execution – the archive is a story in itself, and if the licensees feel that it’s appropriate to support what they do with the story of the development of Vimto, then we have all the tools they need to allow them to do it.

What is it about Vimto that keeps it relevant to audiences today? How big a part will licensing play in maintaining that?

The modern execution of the Vimto brand is very different to its heritage – the product stands for different things today, but it always carries its history with it. Part of the reason why it’s more popular now than it ever was, is because it hasn’t stood still, its adapted to consumer tastes and styles – our programme is going to reflect and re-enforce the brand position. 

What will be the first steps taken in this new partnership for you? What product categories do you think Vimto will perform best within?

It’s important to make sure that we’ve identified the categories that we think are most relevant. Obviously things related to the core product will be key such as drinkware, but the archive is almost an art gallery so that gives us endless possibilities for development into categories where this might work. 

If I know one thing about licensing – whatever you think will happen probably won’t! I could guess that housewares and food gifting will drive this programme but all it take is a retailer to find design they like for a T-shirt and the whole game could change!

How will you guys be pushing the envelope of innovation in licensing as you develop the portfolio?

It’s funny; the words ‘heritage’ and ‘innovation’ would seem to be mutually exclusive, but we’ve seen some great ideas from licensees we’ve worked with that has given a whole new take on the brands we manage that can make a difference. I’ve learnt that the more focus there is on innovation the more longevity there is in a programme. There are products that will be obvious for this programme and driven by the design from the style guides but we are always open to new ideas on any brand.

We want to hear from any licensees who think they can do a great job with this brand – the art we have available is amazing and we can’t wait to hear what licensees could do with it.

Licensing nostalgia: Why Mattel is looking to the allure of yesteryear in 2020 and beyond

Whether it’s in the revival of the Masters of the Universe franchise, the ongoing celebrations for the 75th anniversary of Thomas and Friends, or the new waves that its pre-school brand Fisher-Price is making across markets right now, Mattel is well and truly tapping into the nostalgia trend this year.

With partnerships, new launches, and ’80s throwbacks flying out of Mattel’s consumer products division at a rate of knots these past few months, it’s little wonder that the firm has found it licensing business ‘busier than ever’. Now, boasting a portfolio of more than 100 new deals in the pipeline, the international toy maker and home of some of the biggest children’s IP on the planet is betting big on the appeal of yesteryear.

As Festival of Licensing edges ever closer – now only a matter of days away – Licensing.biz catches up with Mattel’s regional head of consumer products, Lisa Weger to find out just how big the nostalgia trip really is right now.

Despite the consensus that business has slowed over the last six months, we’ve seen a fair bit of activity and news coming from Mattel and its activity in the licensing space. What has 2020 been like for you guys?

There was an initial lull in business as partners adjusted to the new circumstances. However, as soon as they realized that eventually things would return to normal, Mattel’s consumer products business got busier than ever. We currently have more than 100 new deals in the pipeline across the region and most of those came in Q2.

All the data shows that partners are looking for stable evergreen portfolios that will perform independent of content releases. Mattel’s portfolio delivers that in spades, and we’ve seen a lot of enthusiasm in the market for our brands.

Can you talk us through some of the biggest developments for you guys over the last few months?

We had our most successful launch of Barbie T-shirts in Zara in May of this year, followed by a strong selling cross-category Barbie launch in more than 2,500 Biedronka stores in Poland. We are also working on our extensive marketing programmes to support our upcoming launches with Very and Skinny Dip, as well as programmes with other major retailers.

We also have a great new Barbie sewing machine launching with Sambro in Argos so kids will be to make clothes for Barbie and even themselves now.

We are also really excited about our upcoming lifestyle launches with several key fast fashion retailers including H&M for Hot Wheels. We are expanding our successful RC and arts and crafts lines, and we also have a Monster Truck brand extension launching in fall of this year.

We are seeing some of the most exciting product development coming through for Fisher-Price, some of the best that we have seen in years. We have a wonderful new offering from Eldohm musical instruments and exciting new products launching in the outdoor and mobility categories. And of course, we have had a fantastic year celebrating Thomas’ 75th Anniversary and we are looking forward to showcasing our partnership with Harrods in December.

 

What do you look for when translating the toy IP into the wider licensing space? Why is there such a demand for toy-driven IP across the wider licensing space at the moment, and how do you think this is shaping the look of the consumer products market currently? 

As we all know, the current pandemic has changed almost everything. Television and movie productions ground to a temporary halt and partners went in search of evergreen properties. Mattel has benefited from that and, while we all hope that the film and TV industry will be back in full swing soon, I do think that partners are liable to stick with more stable portfolios for the time being.

As far as translating toy IP to licensing, it’s always important that we make sure our product offering stays true to the brand’s DNA. We ask ourselves: what is it about this brand that sparks joy in our consumer? And will the CP product that we are developing add to that story? Will it attract that brand fan? And will it add value to the brand experience? This holds true for any product: physical, digital, entertainment or services.

 How has Mattel’s licensing strategy adapted to and evolved with the changes brought about by 2020?
We were already focused on our product and making sure we were delivering the right experience for the consumer. That required a re-focusing of our efforts and a tight collaboration between our commercial and creative teams. The change in 2020 gave us the little bit of extra time we needed to double down on those efforts while also allowing us time to research and reach out to new partners.

Have you seen any emerging trends in the licensing space over the course of the year, and how have you positioned the brand to tap into them?

We’ve seen an uptick in arts and crafts, pets, leisurewear, personalisation, home décor, puzzles and reading and we have taken advantage of all of them. These trends do offer us new and exciting ways to explore category extensions for our brands.

 Have you got any further plans to tap into this market through licensing?

Nostalgia is big right now. People are looking for comfort and familiarity. If there is one thing, we’ve all learned in 2020 it’s that planning has become much more difficult. People are turning to what they know. They’re reaching for brands that bring happy memories. You will see a lot of new product development on our brands that bring back those nostalgic looks, and products that spark joy in our adult consumer.

 What will you guys be showcasing at Festival of Licensing next month?

There is too much new news to cover, but we will be bringing exciting brand updates on all of our core properties as well as some exciting new launches in our game’s category and promotions across all of our brands.

 What will be leading the charge for Mattel’s licensing division for the rest of 2020 and into 2021?

It’s all about the products and the partnerships for us. We will be working to support our licensees and retail partners while keeping our main focus on constantly improving our product offering.

When all the world’s a stage: Festival of Licensing and lessons in staying global

In a year that has so far witnessed brands the world over pushing the envelope of innovation in a bid to maintain a foothold
in a rapidly shifting ground underfoot, it is perhaps the events and hospitality space that has had to do the most legwork.

Industry-wide, the usual calendar of events and trade shows has well and truly been through the grinder, but when it comes to making the best of a bad situation, the organisers of Brand Licensing Europe are looking to re-write the rule book.

It came as little surprise to many that the annual trade show would not be taking place in its physical form this year, opting instead for the virtual platform to best facilitate the yearly event with digital interactivity that will allow the show’s usual crowds to enjoy Brand Licensing Europe’s usual fodder -minus a drink or two at The Hand and Flower – from the comfort of their own homes.

But why on earth would it want to stop there? And, with a global audience of licensing industry bods surfing the digital interface over face-to-face meetings, why indeed would it stop short? Well, it hasn’t. And so it was that Brand Licensing Europe announced over this summer that it will be but one week of a four-week long Festival of Licensing covering the European, Asian, and Americas markets, culminating with its Licensing Leadership Summit in the fourth and final week.

Licensing.biz catches up with Anna Knight, Informa Markets’ Global Licensing Group Vice President, to talk about Festival of Licensing, and how it could be setting a new precedent for trade shows to work across the physical and the digital as part of the world’s search for the ‘new normal’.

So, Anna – The Festival of Licensing sounds very grand and exciting. For those who haven’t heard yet, can you tell us about the premise? Why did you guys decide to turn this into a four-week licensing bonanza?

Well thank you for saying so, ToyNews. The premise of Festival of Licensing is that it’s a celebration of the global licensing community, and that’s why we’ve turned it into a four week ‘bonanza’. When we organised Licensing Week Virtual after postponing Expo, we quickly realised it’s not possible to host a global event on one time zone, and yet our brands have global coverage and resonance.

By launching Festival, we can have regional specific events that really work for those markets and the customers they serve, and
it means we can host live content specific to each market’s time zone. So, we have Europe in Week One, Asia in Week Two, and the Americas in Week Three. And when we were looking at postponing the Licensing Leadership Summit in New York, we realised it actually made perfect sense for this to become the fourth event and a great way to round up Festival.

What can visitors expect in terms of the layout and experiences? How will you guys be translating what we know of the physical BLE experience – and its brand immersion – onto the virtual platform?

If you’ve been to BLE before – either as an attendee or an exhibitor – you will find everything that you’re used to, and more. So, the focus will be on doing European licensing deals and we’re facilitating meetings in as many ways as we possibly can.

There will be daily live keynotes, live exhibitor showcases and live ‘after hours’ performances, which we’re hoping will blow people away. There will also be tons of content to view on demand, and a Community and Wellbeing offering that will include careers advice and business mentoring. And, for retailers, there will be exclusive content, too, including ask the expert sessions.

How will Festival of Licensing encourage and facilitate visitor engagement and interaction with exhibitors? Likewise, how will it help exhibitors connect with visitors?

We really want exhibitors to make the most of what virtual offers. I’ve said this before, and I’ll say it again, but the virtual environment really does make the impossible possible. So instead of making a standard sizzle or product-focused PowerPoint, we want exhibitors to think about doing live store or design studio walk rounds, for example, to really wow attendees.

In that same vein, how do you best replicate the networking opportunities of a physical event within the confines of the virtual sphere? All attendees will get access to our Matchmaking service from September 8th, and they’ll be able to use this to pre-schedule meetings. We will have showcase pages for all of our exhibitors, which will be built to show off their IP, products and services and we will encourage attendees to view these and request meetings.

We’re also encouraging exhibitors to post videos that, again, will drive meetings. During the event, attendees will be able to go on to an exhibitor page and activate “drop-in” video meetings, which are similar to how a walk-on meeting would function at the physical event.

The Festival programme line up seems very exciting, with lots to engage with over the course of the four weeks. How will you guys be maintaining the momentum and atmosphere, and the general buzz of show, for the stretch of a month?

So, Festival takes place over a month, but it’s not 30 days of content, because that would be way too much for everyone. Each event is live for two to three days and we are suggesting that visitors only attend what’s right for them. There is absolutely no pressure to attend every event, or every day. So, if you’re interested in doing deals with European licensors, then come to BLE.

We’re acutely aware of time pressures on everyone, and that’s why we have restricted how much live content there is to just three hours per day, plus the evening performances. Everything else (and all of the lives once broadcast) will be available on demand for five weeks after each event has come to an end, so visitors really can take their time to take it all in.

In terms of the general buzz, we’ve some great ideas and mini events for keeping everyone enthused, including our wellbeing workshops and our global charity fundraiser, that we’re hoping to announce shortly, and which will of course include a leader board that will keep everyone tuned in.

How will the show’s main components be presented to visitors and exhibitors? How can the toy industry, for example, best navigate the Character & Entertainment zone?

Much in the same way BLE works, there will be multiple ways of searching the Festival exhibitor list, including by category, which will really help visitors to identify which companies to contact. Also, we can’t emphasise enough how important it is to populate your Matchmaking profile with as much information as possible. The more you put in, you will receive more and better targeted suggestions of companies to meet.

To what extent do you think Festival of Licensing can set a new precedent for trade shows going forward? What do you think the future of trade shows will look like in the years following this pandemic – are we looking at a transition to virtual-physical hybrid?

Licensing is such a relationship-based industrythat I am 100 per cent confident that physical trade shows – BLE, Expo, and soon – will return in 2021. However, I also believe that – moving forward – all trade shows should include a hybrid element.

We reached new audiences – exhibitors and attendees – during Licensing Week Virtual because it was virtual. And this is brilliant news for Brand Licensing Europe and for the industry as a whole, so it would be remiss of us to then exclude these people from future events.

We want to be inclusive and educate more and more people about the power of brand licensing. Licensing is also a very creative industry and virtual allows, stimulates and encourages innovation, which is a great thing for everyone.

Any food for thought to leave us all with?

The only thing I would like to add is that we appreciate that virtual is new and for first time attendees it can feel intimidating, so we do recommend everyone registers in advance (from August 17), plans their diary, and reaches out to us if they have any questions at all. We’re here to help and we’re happy to do so.

Franchise Building: How WildBrain Spark is building the digital world of Mattel’s Cave Club

WildBrain Spark is an expert in navigating the YouTube scape and developing emerging IP in the children’s entertainment space into world-conquering franchises. This month, WildBrain Spark’s commercial director, Rachel Taylor illuminates the industry on the firm’s current partnership with Mattel and its new kids’ property Cave Club.

YouTube has changed how the toy world works, how kids play, and how they identify which products will be at the top of their wish-list. Indeed, analytics show that kids are more likely to encounter brands on YouTube than ever before.

With the onset of the COVID-19 pandemic in March, YouTube viewing of kids’ content in WildBrain’s network climbed 36 per cent in Europe and 57 per cent in North America during the subsequent two months, in comparison to the prior two months, and the average monthly watch time rose 1.2 billion minutes and 1.6 billion minutes, respectively. 

There’s no avoiding that the life cycle of toys is now tied to their popularity on YouTube, so taking an innovative marketing approach is essential. Toy companies are increasingly looking to YouTube to launch and sustain the popularity of their brands rather than heading down the traditional linear TV route. While it can initially be a little daunting for companies to take the plunge with a digital-first launch strategy, the data and insights speak for themselves with toys ranking as one of the largest genres on YouTube

In this article, we’ll look at a bold, forward-thinking strategy we are pioneering with Mattel – the development and execution of a digital-first launch strategy for their new franchise, Cave Club. We’ll explore how we are working with Mattel to roll-out the Cave Club brand in EMEA on YouTube before it launches at retail, and the benefits of taking a digital-first approach with new brand and toy launches.

Digital-First Strategy

When we were approached by Mattel to co-create an international YouTube-first strategy for their new Cave Club franchise in EMEA, it was clear they already recognised the value of strong digital content in driving new audiences, raising awareness and creating demand for product. Since the beginning of 2020, we’ve been working closely with Mattel to create an engaging YouTube strategy, spanning channel management, content curation and paid media, which would serve as the primary driver for its Cave Club launch. This digital-first strategy would be designed to introduce audiences to this exciting new IP, build excitement ahead of the retail launch, and also to create a solid fandom to sustain and grow the brand’s popularity for the long-term.   

In a study for WildBrain Spark, research shows that YouTube drives buying decisions – with 80% of parents in the US saying they would consider buying a toy, game or apparel based on their child’s favourite YouTube character. Creating strong visibility for your brand on YouTube ahead of product hitting shelves is key. 

The type and quality of content created to support a brand is also pivotal. Our data tells us that for girls watching YouTube, animation and toy play content rank as the #1 and #2 content formats, respectively. To tap into this demand, WildBrain Spark built a marketing strategy for Cave Club around the launch of two original series from Mattel. 

Firstly, Cave Tales is a CGI doll play and motion comic hybrid which introduces the dolls and their adventures. The series, which is being produced by Peacock Kids and Relish Interactive as the studio providing the animation, has been designed to bring the characters to life through animation, creating fan affinity to the brand.

Alongside this is a world-class 2D animated series called Cave Club, which is being produced by Academy Award® winning studio Six Point Harness. This series brings core themes of the brand to life with dynamic colours and humour. With each episode containing a stand-alone story, this type of content allows the WildBrain Spark team to create YouTube compilations which are highly effective for extending brand engagement. We also match key words and descriptions on each video to popular relevant searches on YouTube, and thematic playlists in the YouTube Kids App. 

Since the Cave Club channel launched in July, it has already received 60M global views and the response to the advertising campaign has been 110% above industry benchmarks. 

In today’s multi-platform and multi-screen world, toy companies and brand owners need to make sure they are playing where their audience is. By taking a bold approach and launching a brand with a YouTube-first strategy, Mattel and WildBrain Spark are trailblazing a smarter way of getting on the radar of an increasingly digitally native generation and their families. 

Comic effect: How the UK’s love for comic books is keeping The Cartoon Museum Covid-secure

Whether it was at its former home along Little Russell Street in London’s Bloomsbury, or its new Wells Street, Fitzrovia abode, The Cartoon Museum had never previously had an issue with footfall. At the height of its popularity in the former location, the museum was pulling in 38,000 visitors a year. In its new site, it was on track to hit an all-time record.

But that was a time before the coronavirus had hit 2020 like an over-sized mallet over the head. By March this year, it was inevitable that numbers wouldn’t hold, with fewer and fewer making the journey to the UK’s capital. In the same week that the museum’s doors were finally closed at the hands of Covid-19 on March 18th, visitor numbers had hit an all time low of 50 per cent of its average.

Six months later, the museum’s doors remain closed, and the some 18,000 pieces housed within, decorate the walls of empty rooms. The Cartoon Museum has missed its key Easter to summer period – the period during which UK museums make most of their money – and subsequently has lost as much as 75 per cent of its income for this year. But however bleak this picture may seem, the optimism and support surrounding the museum and the community it embodies tells a very different story.

In a firm stance against the plight, The Cartoon Museum has found itself at the centre of a rallying cry from the comic and cartooning communities, with some of the biggest names on the scene throwing their weight behind actions taken to preserve this staple of modern British history. 

It’s without doubt a reflection of the size and passion of the UK’s comic book community that The Cartoon Museum has seen donations come in from its members and visitors, found itself the focus of an exclusive fundraising t-shirt by the UK comic book publisher Rebellion, the subject of a cover price percentage donation from ComicScene Magazine, and at the heart of a fundraising sale of The Bad, Bad Place by Soaring Penguin Press, as well as an art sale of unique pieces by the artist Dan Digby.

Not only all of this, but the museum curator’s husband has even ran a half marathon, all to help raise money for the cultural attraction. Then there’s the matter that it recently managed to secure a grant from the National Lottery Heritage Fund.

It would appear that, even as the UK navigates some of its toughest months in recent history, the nation’s affinity for and history with comic books has held as firm as ever. If ever there’s a story that exemplifies the passion of a homegrown fan base, it’s surely this one.

Licensing.biz catches up with The Cartoon Museum’s Director, Joe Sullivan and its Learning and Outreach Officer, Steve Marchant to tell the story of The Cartoon Museum and Britain’s undying love for the comic book.

Comic and cartoon aficionados Joe and Steve, hello to both of you, and thank you for chatting with us. By way of an introduction, can you talk about the history of the Cartoon Museum – when was it established, why so, and your roles at the museum?

The Cartoon Arts Trust was founded in 1989, as a way to collect and preserve key elements of Britain’s unique and nationally-important cartooning history. In 2006, The Cartoon Museum opened on Little Russell Street in Bloomsbury, London. In July 2019, the museum moved across London to a new, larger premises on Wells Street in Fitzrovia.

As of 2006, the museum has developed a reputation as a key champion of British cartoon and comic art, and a strong track record of innovative ways to democratise access to the arts. We have received 420,000 visitors, and built a nationally important collection of cartoons, comics and caricature, as well as a reference library of 18,000 items.

Over 50,000 children and adults have attended workshops, and we receive 3,000 student visits a year. We work in partnership with community-based organisations, including Laydeez do Comics, Geek Syndicate, Sketch Appeal, and MIND. We also work closely with universities and colleges, including Staffordshire, Dundee, Exeter, Westminster and Syracuse (in the USA).

Joe Sullivan is the Director of the museum, setting the vision for the future, and leading the museum forward to increase visitor numbers, and develop the collection and exhibitions programme., 

Steve Marchant is the museum’s Learning and Outreach Officer, and has been with the museum since 1991. He develops and leads the museums learning programme, teaching drawing skills to children and adults, and opening new pathways into careers and hobbies in the arts. 

How have you guys been impacted by the ‘explosion’ of the pop culture scene in recent years? What has the matter of underground culture going mainstream done for the museum?

The ‘mainstream-ification’ of pop culture has definitely been a benefit to the museum, with increased interest particularly in comics, which gave us some of our highest exhibition attendance figures. This created the opportunity for us to run the Comic Creators project, from 2015 – 2019, funded by the National Lottery Heritage Fund. We collected 402 pages of original British comic art, including ages from the Beano and Dandy alongside pages from legendary comics such as Judge Dredd, Asterix and Watchmen.

We also are beginning to see interesting patterns relating to pop culture – for example, the highest attended UK exhibition last year was Manga at the British Museum, and our Manga half-term workshops have been incredibly popular and over-subscribed. This is a clear response to the current popularity of anime, manga and Japanese video games among children, teenagers and young adults.

So, what kind of collections and exhibits do you house at the Cartoon Museum? And what are some of the most popular?

We have a large and varied collection of cartoon and comic art, but only five to 10 per cent of our collection is on display at any one time, meaning we have a veritable treasure trove stored away. Our cartoon collection traces the history of satirical cartoons, from Heath Robinson and Gillray through to current Cartoonists Martin Rowson and Steve Bell – both of whom are Trustees.

Our comic collection of 402 items contains pages from key British comics such as the Beano and Dandy, as well as famed graphic novels including Dave Gibbon’s work on Watchmen.

In addition, we have a large library and some interesting items and ephemera, including an original Spitting Image puppet and a replica of William Heath Robinson’s infamous ‘pea counting machine’. Our collection is almost entirely original pieces of art, and part of the fascination for me is the look you get into the artists mind-set. On some of our comics you can see how the page has been assembled, with cut-out word balloons positioned over the artwork.

Our current temporary exhibitions, Hail to the Chief: The Best and Worst US Presidents, and Dear Mr. Poole (which you can view online) celebrate a theme around ‘tools of the trade’, and delve into the types of pen nibs different artists use, their relationship with specialist art stores, and what a cartoonist’s work space looks like.

How do you think the way we as a society engages with comic books has evolved across the generations?

If you look back 17,000 years into the past, Stone Age cave art shows us how narrative art has always been an essential communication for humans. It is an older form of communication than writing, and potentially older than formalised language.

Cartoons and comic books are the successor to this form of narrative art. Like anything, there are ebbs, flows and reactions in style, content and readership. Right now, the age of the internet has changed the landscape for comics. Anyone can self-publish widely on the internet, and often do, leading to a huge rise in webcomics and other narrative artforms, such as memes.

How far do comic books and cartoons go to reflect the sensibilities of their generation?

Like many mediums that are consumed en-masse, comics have evolved in response to political and social situations, which often change on a generational basis. For example, in the 1950s and ’60s, ‘girls comics’ presented a specific view of what was expected of girls at the time, with stories about boarding schools and relationships. At the time this led a lot of girls to pick up a ‘boys comic’, like Eagle, and read that instead.

‘Boys comics’ featured topics such as war, or sport. If you compare that to today, these lines are much more blurred and comics are largely written for and read by a more general audience – Roy of the Rovers, for instance, a football strip previously a bastion of ‘boys comics’ relaunched in 2016, and was quickly followed by a new strip starring his female cousin, Rocky of the Rovers.

What would you highlight as some of the most notable steps of evolution of the comic book? How do you think engagement with the medium today compares to that decades ago?

One of the earliest steps towards modern comic books in the UK was the change from featuring single-panel cartoons and prints in newspapers, to using two or three panels to create cartoon strips. One of the earliest popular characters was Ally Sloper in the late 1800s, who set a type for a lazy ne’er-do-well surrounded by a troupe of colourful characters drawn in grotesque stereotyped ways. He is considered the first ‘recurring character’, which set a precedent for new regular newspaper and magazine strips with readers returning to check in with their favourite characters.

DC Thomson started the Dandy and the Beano in the 1930s, starting a boom in comic anthologies and books. This continued through to the 1970s, where independently drawn and published ‘comix’ started to pop up, often featuring more adult-orientated material. In the 1990s web comics started to gain popularity, and in 2020 we see a mix of all that has gone before – beloved characters in long-running formats (The Beano is still being published) sit alongside deep, thoughtful graphic novel material, all of which is published often in both physical and digital formats.

Can you describe for us, the British affinity with comic books? How does the UK’s engagement differ to the likes of the US, for example?

Comics and comic readers of today are largely viewed in a different light by the mainstream today in Britain than they are in America. In Britain, the over-riding view is (and has been for a few decades) that comics are only for children. This is of course, nonsense, but you do generally see a graduation towards other entertainment mediums as children get older. However, in America comics are viewed as a viable medium for all ages, making the market bigger and healthier. Part of this may come down to the cheap and disposable nature of comics – in the US this led to a wider variety of children and adults having easy access to them before disposing of them or passing them on.

What makes a British comic British? Across the decades, has there been a common thread that holds it together as a particular ‘genre’ within comics?

British comics are often more inherently satirical in nature – 2000 AD in particular filters its action and square-jawed heroes through a lens of social collapse, providing commentary and warning on the importance of working together to make a better society. Perhaps there is a strong link to political and satirical cartooning in this, something which is a very British tradition of narrative art.

Modern comics continue this trend, and are easy to digest, and provide a great entry point into reading and telling stories. Comic books also offer a mid-point between the voyeurism of films and the imagination needed to create images in your head when reading a book. Comic books encourage the reader to create the voices of the characters and the movement between panels themselves, but in return show the reader fantastical images, design and art.

There is a give-and-take element not seen in other media.

We know that you guys have felt the impact of the coronavirus pandemic and the temporary closure of the museum… How has it been, seeing the action that’s been taken by the community to support you guys?

The museum has been very lucky during its closure, as the UK cartooning and comic communities have rallied around us to lend their support – it has been very humbling to be a part of.

We have had donations from our members and visitors, an exclusive fundraising t-shirt by Rebellion, a cover price percentage donation from ComicScene Magazine, a fundraising sale of The Bad, Bad Place by Soaring Penguin Press, an art sale of unique pieces by artist Dan Digby, and our Curator’s husband even ran a half marathon to help raise money! In addition to that, we received a grant from the National Lottery Heritage Fund.

We hope to reopen soon, but things will remain quiet for a while, and 2021 and 2022 will be difficult years for both us and other museums, with school visits not happening for a year, and a huge reduction in overseas tourists. We are safe for now and continue to fundraise, and hope to get back on our feet properly over the next year.

How can those interested help support the museum through this period?

We are expecting 2021 to be very quiet in terms of visitors, so we are still fundraising for our long-term survival. If you would like to donate to our appeal, please visit: https://www.cartoonmuseum.org/

You can also buy an amazing exclusive t-shirt from our friends at 2000AD, with all profits going to the museum: https://shop.2000ad.com/catalogue/XRC032

In the (food and) drink with Richard Pink – Pink Key Licensing and the moveable feast of F&B licensing

Richard Pink and his Pink Key Licensing business has become almost synonymous with the food and beverage licensing market, with a portfolio ranging from Kellogg’s, Colman’s, and PG Tips through to the likes of Pringles, SLUSH PUPPiE, and who can forget The Laughing Cow?

But it’s by Pink’s own admission that this was never a deliberate move, but moreover a natural gravitation of the firm towards the kind of brands that have a story to tell. There’s a rich history of cultural affinity with brands like Kellogg’s, Colman’s, and PG Tips that is shared the world over that arguably places this particular trio in the bracket of heritage licensing, while Pringles, SLUSH PUPPiE, and The Laughing Cow (La Vache Qui Rit for our French speaking friends) certainly tap into today’s demand for brands of pop culture status.

No, it may not have been a deliberate move in Pink’s part to find the common thread that ties all of these brands – and the extended Pink Key Licensing portfolio of those outside of Food and Beverage licensing – together, but it was certainly a very smart one, curating a central hub for some of the most iconic brands to have dominated the supermarket aisles and homestead across the decades.

Here, Licensing.biz catches up with Richard Pink, MD or Pink Key Licensing to talk about the latest trends in the Food and Beverage licensing space, the strength of the Pink Key Licensing portfolio within it, and what the future holds for the market.

It’s always enjoyable looking at the Pink Key portfolio for its Food & Beverage brands and those iconic names with real history. How would you summarise the Pink Key approach to F&B licensing?

Our focus on F&B licensing is a strategy which has evolved organically rather than deliberately. I think people have seen what we have done with Kellogg’s and SLUSH PUPPiE and begun to associate us with these types of brands. Having said that, we have developed a bit of a mantra as we’ve grown: we have to love the brand – genuinely; if we don’t love it, I don’t think we can make anyone else love it and we have to want to keep it in our portfolio forever.

Kellogg’s, Colman’s, and PG Tips arguably straddle both F&B and heritage/vintage thanks to their history and cultural role across the decades, while Laughing Cow, Pringles, and SLUSH PUPPiE are iconic in their own right. Is there a common theme for all of these brands? What do you look for in a brand?

That’s probably the third part of our mantra and something all our brands have in common: they all have a story to tell. Sometimes, as you say, this comes from the heritage of the brand but with a brand like SLUSH PUPPiE, although it plays on people’s memories, it’s still very much a contemporary brand and its story is all about what the brand is going to do in the future, where we can go and how it can develop. This is exactly the same as Babybel, The Laughing Cow and Pringles.

What are some of the key trends in F&B licensing at the moment, and how is the Pink Key portfolio tapping into these right now?

The trends for food and beverage licensing tend to be around particular eras, and luckily, we have access to a broad bank of artwork for each of our brands. As a result, we are able to allow licensees access to artwork by particular decades, for example.

Additionally, with SLUSH PUPPiE, we are very fortunate to work with the licensing agency in America, Design Plus, run by Carol Janet who has managed the brand globally and developed the style guide and assets for many years. As a result, we can be really proactive in developing artwork very quickly to reflect any trend that comes to the market.

What is the strength of the F&B licensing market like right now? Have you seen it evolve and grow over the last year, and how have events of recent months affected or influenced this market in particular?

The Food & Drink licensing market has been very strong now for a number of years. I think this is principally down to the depth and breadth of available assets. Retailers and licensees have become more aware of the amount of amazing artwork that is available because of the rich heritage of many of these brands. I think this is why the trend towards brands with strong logos and a large body of available art has been sustained over the last few years. The fact that interest in these brands has maintained has been extremely exciting for us and, although the lockdown has ‘paused’ things for everyone, I don’t see this changing.

What do you think the future looks like for the F&B licensing market coming out of this peculiar period? How responsive to this sector is retail at the moment, and how will this look going forward?

It’s very hard to say how the market will be affected by Covid and the lockdown, in the same way that it is difficult to predict this for any market sector. However, because of the rich heritage, I believe that consumers are likely to gravitate towards things they find familiar, and I believe inevitably this will have a positive effect for the food and drink licensing sector.

Can you talk us through some of the latest updates for the F&B portfolio, what have been some of the key partnerships you’ve lined up this year? Anything that’s taken you by surprise this year?

We’ve had an extremely strong year with all of our brands. I don’t think we are alone in looking into the possibilities of getting closer to the consumer through Direct to Consumer Print on Demand websites, to try and give ourselves an all year round presence as an additional distribution channel that will support our main business through licensees.

I always say that the brand in our portfolio that completely took me by surprise is SLUSH PUPPiE: we have been amazed by the consumer response and it seems to go from strength to strength driven primarily by the amazing work done by Fizz Creations and their ubiquitous SLUSH PUPPiE machine (available at all good retailers!) along with a range of accessories.

We have also been really pleased by the sales of Manchester Drinks frozen pouches, and we have some very exciting new licensees lined up for the brand who will be bringing product to market later this year.

There seems to have been plenty of activity surrounding The Laughing Cow over the course of 2019/2020 – why is this brand resonating the way it is, and what is the UK strategy for this one?

It’s still early days but the initial response we’ve had has been very positive, particularly in apparel. I believe it resonates because of the heritage and people’s positive associations with it, and the graphics are incredibly strong, but principally because the brand is so positive – it’s all about laughing, and we all need a laugh these days.

Also, we are delighted that our partners for SLUSH PUPPiE and ICEE in the US, Design Plus, have also been appointed as the US agent for the Laughing Cow – we work so well together and I think it’s going to be hugely positive for the brand and its programme.

What further developments in the F&B space can we expect from Pink Key this year and next?   

We are always looking at ways to strengthen our portfolio, but it has to meet the criteria that I outlined at the start. We do have a couple of ongoing conversations which are proving to be very positive indeed and hope to be able to make an announcement nearer to BLE about an addition to our portfolio.

 

Pokemon a Go: How The Pokemon Company kept a global audience active through lockdown

When Covid-19 struck with full force back in March this year, the implications of the measures taken to battle the global pandemic could have spelled disaster for The Pokémon Company International and its network of initiatives and fan events that relied very much on the freedom of public spaces and person-to-person gatherings.

Had the nimble-footed outfit not have reacted to the growing concerns and implications of the world’s lockdown with the agility and innovation that it did, the year 2020 could have been the one that finally toppled the world-leading franchise from its perch. Thankfully, the company is telling a different story – one in which its reflexive action (translating its portfolio of popular public events and tournaments to the virtual arena) has enabled the firm to hold on to its mantle as a globally beloved franchise.

Even Pokémon GO, the record-setting and genre-leading AR gaming app that takes places outside on the search for Pokémon to capture in real life settings, flipped the switch at the height of the world’s lockdown measures with enhanced functions to allow players to continue their AR gaming whilst staying at home. Meanwhile, the raft of new video game releases couldn’t have arrived at a better time for the brand’s fans looking for new platforms for entertainment during the pandemic.

To top it all off, The Pokémon Company has been listed among a select handful of companies championed by independent retailers in the hobby gaming space, who have spoken to Licensing.biz directly about the efforts of the firm to help and support its network of small retailers through the hardships of the coronavirus. All-in-all, it could be reasoned that the Pokémon Company International has navigated the choppy waters of the world’s pandemic very well indeed.

Here, Mathieu Galante, licensing director EMEA, The Pokémon Company International talks in-depth to Licensing.biz about the newest developments for the franchise, the success of its latest releases across gaming mediums, and why Pokémon will never cease in its mission to innovate.

How is business going with you guys – over the last 12 months – but certainly over the course of the last few? What’s been the Pokémon approach to changes brought on by the pandemic?

Overall it has been a positive 12 months for Pokémon. Our latest Video Game titles, Pokémon Sword and Pokémon Shield, were a runaway success, becoming the fastest-selling Nintendo Switch titles ever with six million units sold worldwide during launch weekend last November.

The June expansion, The Isle of Armor which offers new Pokémon to encounter and new areas of the Galar region to explore, is also proving popular, as is March’s release Pokémon Mystery Dungeon: Rescue Team DX, which revisits the classic games of 2006. Whilst February’s first  Sword and Shield trading card expansion also enjoyed impressive sales.

Naturally Covid-19 has had an impact, especially on our increasingly popular public events and tournaments. However, as an ever-innovative brand we have adapted to promote more ways for fans to engage with the brand from home and produced fun extras such as printable colouring-in sheets and virtual backgrounds for video calls.

Although this summer’s World Championships in London couldn’t take place, we instigated the Pokémon Players Cup, a global online tournament featuring Pokémon Sword & Shield, Pokémon Trading Card Game and Pokkén Tournament DX, running from July to August. Pokémon League Trading Card Game events that normally took place in-store pivoted to using TCG Online, while this year’s Pokémon GO Fest in July was reimagined as a virtual event.

Meanwhile, animation fans have enjoyed Movie 22 – Pokémon: Mewtwo Strikes Back – Evolution, featuring a new CGI style to animated Pokémon movies, plus an extra treat in the new seven-part online series Pokémon: Twilight Wings, which features a new 5’ episode each month on Pokémon’s YouTube channel.

For our licensees across Europe, we are working closely to support them wherever needed. We have noticed a different impact across different markets, and product categories  as online sales being stronger in the UK, Nordics and BNL than in southern Europe.

Life’s seen a lot of changes, and lockdown has seen consumers turn to home entertainment, including video gaming. How do you think this has impacted on consumer engagement with the Pokémon brand?

We have been working to make it easier for fans to interact with Pokémon in a variety of new ways, including launching our first downloadable content for the two Pokémon Sword and Pokémon Shield expansions. June’s The Isle of Armor and the forthcoming The Crown Tundra introduce a variety of new features, including all-new Pokémon and new areas of Galar to explore.

Meanwhile, Pokémon GO has changed its gameplay to safeguard users, allowing people to play inside and around their own homes. Introducing new features and tweaking regular ones, it has made the at-home experience better to encourage users to stay indoors. Reduced walking requirements and discounted select items mean players don’t have to walk as far to catch Pokémon, with the in-game distance tracker updated to track indoor steps more accurately and game achievements also being rewarded for using a treadmill or doing chores around the house.

A new form of home gameplay, the GO Battle League, allows trainers to take on other players from around the globe with a team of three Pokémon, while it’s now possible to battle Team Rocket from home as well.

Can you talk us through some of the latest developments for the Pokémon brand – games releases, boost from the feature film, TCG, and of course its always interesting retail presence?

Pokémon Sword and Pokémon Shield have been hugely successful. Approaching 18m sales worldwide, they are the fifth-bestselling Nintendo Switch titles to date.

Our Trading Card Game remains one of the most popular in the world – shipped to 77 countries and regions in 13 languages – and has also enjoyed great results with Sword and Shield. Its first expansion in February, boosted by a TV ad campaign and strong retail activity, and May’s Sword and Shield – Rebel Clash have been very popular, featuring powerful new Pokémon V and Pokémon VMAX cards that will play an important role in players’ strategies.

We are also excited about the Darkness Ablaze expansion launching in August, with new Special Energy cards. TCG fans can now also learn, practice, and play online as a single player or against other players, and browse and discover expansions and promo cards via the Pokémon TCG Card Dex app for iOS and Android.

Our unique new puzzle game, Pokémon Café Mix, a free-to-start game for Nintendo Switch systems and mobile devices, makes players the owner of a café that Pokémon visit. There, they work alongside Pokémon to prepare drinks and dishes for Pokémon customers by completing puzzles. As more puzzles are completed, the café can be upgraded.

With innovation in our DNA, we continue to expand the brand into new areas. Our latest app offering, Pokémon Smile, incorporates the world of Pokémon into the everyday task of brushing your teeth, making it a fun activity to encourage kids to develop good brushing habits as they catch Pokémon.

We also recently announced two exciting new games, Pokémon UNITE and New Pokémon Snap, for forthcoming launch.

Pokémon UNITE, a free-to-start cross-platform game for Nintendo Switch and mobile devices, is a strategic team battle game where players face off against each other in five-on-five team battles. Introducing a new kind of Pokémon battle – one that requires teamwork and strategy – it is simple, yet full of intricacies waiting to be unpacked.

New Pokémon Snap for Nintendo Switch is inspired by the classic 1999 Nintendo 64 game. This completely new game will take Trainers on an adventure to unknown islands where they can research various Pokémon in their natural habitats, take photos to make their very own in-game Pokémon Photodex and discover new, never-before-seen Pokémon expressions and behaviours.

The halo effect of the box-office smash hit movie POKÉMON: Detective Pikachu, which achieved phenomenal exposure, has brought greater awareness for brand as a whole. There was a significant sales lift for the associated licensed products – including toys, TCG and apparel – and also non-film-related products and we have been working hard to build on this effect.

After a raft of activity at the start of the year, including special retail promotions around Pokémon Day in February, Covid-19 has restricted things in this area, but we have exciting plans afoot to support our licensees and retail partners going forwards, including our master toy programme for Christmas. And, with Pokémon’s ever-increasing status as a fashion icon, we are working on new apparel collections with our DTR partners including global giants H&M, Zara, Bershka, Pull & Bear and Celio. This year also brought exciting fashion collaborations with new partners adidas and Casetify.

How is Pokémon leading the charge with its approach to and relationship with retail? You guys seem to be loved by indies and big name retailers alike. So, what’s the secret?

Obviously our retail partners are hugely important to us and we are making every effort to support them with initiatives such as allocating Sword & Shield— Darkness Ablaze pre-release kits free of charge to eligible retailers to support hobby stores. As a brand we also enjoy strong support from retailers both large and small across Europe – seeing Pokémon as a true evergreen brand, they feel we are a “safe bet”.  We work hard on the best ways to create engaging and different retail programmes for toys and games and fashion across Europe.

Where do you guys go from here? What are the next steps or plans in the licensing space for you?

We continue to explore innovative products, promotions and retail activations to maintain our strong positions in the UK, France, Italy, Germany and Spain for our core master toy programme and fashion programmes. We are also looking at opportunities to expand in the Nordics, BNL and Poland. In addition, we are working on exciting new collaborations and projects as we gear up for some fantastic plans to celebrate Pokémon’s 25th anniversary in 2021. Watch this space.