Air walking: From YouTube to the toy aisles, Braille Skateboarding teaches the skate scene new tricks

Who is Aaron Kyro, and why should you care?

Well, to answer the former we’ll have to take you on a journey to San Francisco via a childhood in Montana, chasing the trail of a professional skateboarder in the making and the pursuit of his dreams of hitting the big time. To answer the latter, you need only to travel to your local Smyths Toys Superstore.

Because Aaron Kyro is the talent behind the Braille Skateboarding brand; one that has emerged from the sea of YouTube content creators to rise through the ranks of global popularity and land on the toy shelves of one of the UK and Europe’s most preeminent toy retailers, with its popular line of Braille Fingerboards and accessories.

New to the UK this year, Braille Skateboarding has been met with a warm reception from fans not only country-wide, but across the globe. Projections made by the skate brand deduce that – should things continue at the pace of growth it’s been enjoying over the past year or two – Braille Skateboarding will have shipped around one million fingerboards to retailers by the end of 2020.

That’s not too shabby for a brand that only launched onto the toy scene in July this year. According to the firm, fans have already been ‘going wild for the toys,’ a range that not only comprises fingerboards and skate ramps, but mystery surprise sets and accessories, too, propelling the franchise to international fame.

With 5.24 million subscribers to the Braille Skateboarding YouTube channel and its Skate Everything series of videos – a series that sees Kyro and pals not only create skateboards out of the most bizarre materials they can lay their hands on (seriously, we’ve watched him craft a board’s grip tape out of Gummy Bears), but skate them on camera, too – Kyro is injecting something new into the skateboarding scene, and bringing it into the modern era of social media, virtual engagement and of course, merchandising.

Now, to answer the next question, Licensing.biz takes the (virtual) journey to San Francisco to catch up with Kyro and learn more about the plans for the Braille Skateboarding brand.

Hello Aaron, thanks for talking all things skateboarding with us today. Could you kick things off by talking to us about the Braille Skateboarding story? Where did this all start for you and what’s the journey been like to where you guys are now?

It’s really every skater’s dream.  I grew up in Montana where I learned how to skateboard.  Graduated high school and moved to San Francisco to pursue professional skateboarding. After getting kicked off my main sponsor due to budget cuts my career dreams were all but crushed. I dumped all of my footage onto YouTube where skateboard footage would go to die in 2006 and the video went viral. I realized the power of social media and the ability to reach lots of people, so I started making tutorial videos and teaching people how to skateboard and we grew from there.

When did you guys realise you wanted to break into the toy space with the Braille Skateboarding brand name? What has that process been like for you? What’s it now like to see Braille Skateboarding toys lining shelves not just in the US but internationally?

With our background in teaching people how to skateboard our goal is to make Skateboarding the largest sport in the world.  This is a big goal and of course requires us to reach out to a lot of people in any way we can. So when the idea of creating toys came up it seemed like a perfect fit. The process has been amazing really, it’s so fun to create the different boards. Seeing our boards on shelves in this capacity is literally unreal. I could have never imagined things getting to this level. It’s really amazing.

What do you think is the strength of the Braille Skateboarding brand? Why does it translate so well to toys like it has so far? Why does the brand resonate with its audience in the way it does?

Braille is not just entertainment, but we teach skills that can translate into many different parts of life. If you go through all of the physical and mental barriers to learning a skateboard trick it gives you a great deal of confidence. I love helping people learn and grow through skateboarding, and I think when you do learn a new skill that sticks with you more than just a funny video. So that connection to the audience, I think, makes the brand resonate well.

We have seen the national and international interest in skateboarding surge as a result of the world’s covid-19 response and lockdown measures. Is this something that resonates with you guys? Have you seen increased fan engagement, increased brand engagement? 

With the goal of teaching the world how to skateboard when the world all but shut down a lot of people took me up on that goal and started their journey learning. So yes, I think skateboarding helped a lot of people get through the pandemic.

I hope it’s going to continue to get a lot of people into skating. In order to grow a sport you need new people starting. I think that skateboarding is a healthy activity people can do that helps them during times like this and it’s perfect.

Braille Skateboarding has its own virtual element, in which we offer tutorials across the online platform. Virtual is so perfect because it allows us to safely reach a lot of people and help them learn. I think virtual will play a huge roll in the future of skating not only from people learning but also sharing experiences and making friends from literally all over the world.

That’s what amazing about our virtual skateboarding community – you can learn to kick flip at the same time as your new friend from Australia and share your experiences online.

Home shot videos, community, growing from the grass roots level – skateboarding has arguably always been very close to the ‘social media’ concept, so the idea that Braille has found such success through it seems only right. How do you decide where next to go with the brand?

My decisions are all based around how I can best achieve the overall goal. Reaching new people and getting them into skateboarding is the main piece to that goal. I think this helps the whole skateboard industry as well as individual people’s lives who have gained so many things from skateboarding.

What are the wider plans for the Braille Skateboarding brand? What product areas would you like to see it move into, and how will you ensure it keeps the Braille ethos at its heart?

Creating a global grass roots movement to grow skateboarding at a much faster pace. This includes online as well as in person lessons, but at the heart of it is creating a community that helps each other learn and supports each other in that learning process despite any and all differences.

I would like to see Braille move into any area that could help us grow and build that community. Any product that could help people learn in any way would be great, or any product that puts people’s attention on skateboarding as something they might do in the future, like toys for example, are great.

Keeping the Braille ethos at the heart requires constant work and constant reminders all the time. I can get so busy making fun videos that even I can forget the larger purpose of it all, so the constant reminders of what we are doing and communicating that to my team and beyond is so important.

I love to dream of the larger picture and all the cool impacts we could create with skateboarding all over the world, so just keeping those dreams alive and making sure we keep them at the heart of all the projects keeps it there.

Thank you Aaron, anything you’d like to shout about right now?

Well, I like to sk8…

Innovators of licensed plush The London Toy Company is launching ‘huge toy range for 2021’

The London Toy Company – the plush artists formerly known as High Resolution Design – famed for pushing the envelope of plush design with licenses such as TfL and Harry Potter, has revealed its plans for the non-plush toy space next year.

Founder and director, Joel Berkowitz, has told ToyNews that fans and customers of the brand can expect to witness the launch ‘of a huge range of new toys’ across its existing portfolio of licenses. Products will span the likes of train sets and diecasts, as well as bakewear and squishy toys.

The project has been a top secret one and the work of the London toy Company as it continues to grow in the space, expanding its portfolio of products, designs, and licensing partners along the way. The firm currently holds partnerships with Warner Bros. for its Harry Potter collection of plush toys – brokered via a partnership with Wow! Stuff – Transport for London, and more.

“I can’t share it all right now,” said Berkowitz, “but it is all majorly exciting for us as we continue to grow.”

It was during the UK’s nationwide lockdown period that Berkowitz took the opportunity to evolve the company beyond its High Resolution Design moniker and rebrand as The London Toy Company. In what has been a year of trepidation, Berkowitz’s outfit has managed to achieve both growth and recognition when it took home the SME News Awards for Enterprise’ Best Soft Toy Manufacturer 2020 accolade.

Here, ToyNews catches up with company founder and director, Joel Berkowitz to talk about the successes of the past 10 months.

Hi Joel, it’s good to catch up with you! To kick us off – another award to the company name – Congratulations! Can you talk us through the award win and what this means to you guys? 

Thank you, Rob! Given all we have been through this year, it was an incredible surprise to have won the SME News Awards for Enterprise – Best Soft Toy Manufacturer 2020! We have been recognised for commercialisation, brand partnerships and innovation of our portfolio licenses.

How is the award win reflective of the London Toy Company today, the ‘journey’ that the business has made to date and the strength of the company in 2020?

This award is humbling to know that we are recognised for the work we have been able to accomplish over the last 4/5 years. The diversity, capability and integrity of the team has put us in a really good position in the market and things seem to be snowballing for us!

Over the last few years we’ve seen you guys push the boundaries and innovating in the plush toy aisle further and further. How important is it to you that The London Toy Company keeps pushing that envelope and reinventing the plush category?

When entering any industry, it is important to have a vision of difference. We have created our own niche in the vehicles soft toy category. We’re different to other manufacturers as we avoid character-plush and settle for complex, sometimes near impossible shapes and forms that vehicles typically elude.

We are constantly innovating and developing new toys and finding out what works and doesn’t work so we can streamline our offerings for the marketplace.

You’ve got some big licenses like Harry Potter, Transport for London and JCB on the books – how did these partnerships come about? What do you guys look for in a licensing partnership? What inspires each next step of the business?

Based on our vision for super-realistic vehicle soft toys, we decide to work with brands where there is a gap in the market. We always try to ensure that when entering into an agreement, that it is a fair partnership where expectations can be managed by both parties in a sensible fashion.

We’ve found that our licensors have been very sensitive to us given that we are relative newcomer to the industry and we appreciate their support greatly.

Funnily enough, we were introduced to the guys at Wow! Stuff after a friend of our co-director suggested we think about Harry Potter. I had thought about the idea previously, but were concerned about commitments to Warner Brothers at the time. We ended up producing some samples of the Knight Bus, Hogwarts Express and Ford Anglia and met with Wow! who really went WOW! Our partnership was made official and the toys were born.

How has business been for you guys through 2020? How have you guys adapted to the changes that have been thrown at the industry?

Given the rapid move to even more online shopping, we took the chance to rebrand our company during lockdown. We were previously known as High Resolution Design, but needed something much simpler, fresher and easier to understand for the online consumer.

The London Toy Company couldn’t have been a better fit for us and we are almost finished rolling this out across the business. Our sales with online retailers have skyrocketed and our Harry Potter range has turned things around for us much quicker than we hoped.

One thing that has struck amid the pandemic is the evolution of the consumer and the value they place on play. Where do you think the plush sector fits in today, what are consumers looking for from their plush toys today and how is The London Toy Company delivering that?

With all toys, they have a lifecycle that we are all familiar with. The difference for plush is that often, they are seen as an emotional play item that is comforting and versatile. Sadly, as less consumers visit shops, they don’t get the same interaction online as they would in person.

For the Christmas season, we will have videos with footage produced remotely that pick up on this emotional connection to the toys to help customers understand the product as best as they can.

How are you guys looking as we head into the key Christmas period? How optimistic are you for 2021?

We have been working with a number of influencers to help consumers get a better feel for our toys, right from their living rooms. We have some exciting content that I cannot wait to see.

I think we will see a slower year of growth in ’21 as we play catch-up with franchises and content to work with, but there is plenty for us to be getting on with in the meantime.

What’s the next big move for you guys?

In 2021 we are going to be entering into the non-plush space with the launch of a huge range of new toys within our existing licenses. I can’t share it all right now as they are top secret projects, but they are along the lines of squishy stress toys, train sets and diecast as well as the bakeware and footwear categories. All majorly exciting for us as we continue to grow .

Anything you’d like to add?

Wishing everyone a very safe and prosperous end to this crazy year. Most retailers beat me to it with their Christmas range already on display since August, but here’s to a Merry Christmas and a Happy Chanukkah to all in our fantastic industry!

Super Mario, Cocomelon, Back to the Future: Here’s the long list of all DreamToys 2020 picks for this Christmas

This year’s long list of DreamToys – the predicted best-selling toys and games for Christmas 2020 – is a mix of ‘those that have kept families entertained over lockdown’ and boundary pushing innovation destined ‘to impress under the Christmas tree.’

Alongside the DreamToys Top 12 Toys for Christmas, the committee has released a fuller, longer list of toys and games that it believes will be topping wish lists across the country this festive season, featuring familiar names like Barbie an Peppa Pig alongside new lines such as Fifi the Flossing Sloth and Squishmallows.

Family favourites Scrabble, UNO, and Cluedo also make an appearance in time for the season.

Gary Grant, chair of the DreamToys selection committee, said: “2020 has been a challenging year for all, but toys have entertained and educated many during lockdown.

“This year’s list represents a mixture of those toys which have kept families company during these difficult times, and innovation which will impress under the tree. We hope toys will continue to bring joy to all families over the festive period – as they have always done.”

There are seven categories this year, each designed to highlight the wildly different and varied types of play that children can take part in.

Dolled Up:

Barbie Colour Reveal Mermaid Doll Asst – Mattel – £19.99

Cocomelon Bedtime JJ Doll – Bandai – £24.99

FailFix Epic Colour ‘N’ Style Makeover Pack – Moose Toys – £29.99

Hatchimals Pixies Crystal Flyers Assortment – Spin Master – £34.99

Kindi Kids Shiver ‘n’ Shake Rainbow Kate – Moose Toys – £39.99

L.O.L. Surprise! O.M.G. Remix 4-in-1 Plane Playset – MGA Entertainment – £89.99

L.O.L. Surprise! O.M.G. Remix Fashion Doll Asst – MGA Entertainment – £39.99

Luvabella Mealtime Magic – Spin Master – £64.99

 

Crafty Kids:

Aquabeads Star Bead Studio – EPOCH Making Toys

Cool Maker Go Glam Nail Salon Stamper – Spin Master

DOTS Rainbow Jewellery Stand Set – LEGO

Friends Jungle Rescue Base – LEGO

Gemex Deluxe Creation Station – John Adams

Kidizoom Studio – VTech Electronics

Stuff A Loons Maker Station – Character Options

The Original Spirograph Design Set Boxed – Flair Leisure Products

 

Licensed to Thrill:

Fortnite Battle Bus – Jazwares

Harry Potter Hedwig – LEGO

Jurassic World Epic Roarin’ T-Rex – Mattel

Marvel Bend and Flex (Asst) – Hasbro

Peppa Pig Peppa’s Shopping Centre – Character Options

Pokémon Carry Case Playset – Character Options

Star Wars 501st Legion Clone Troopers Set – LEGO

Star Wars The Mandalorian – The Child “Baby Yoda” – Mattel

Super Mario Adventures With Mario Starter Course – LEGO

 

Animal Farm:

Fifi the Flossing Sloth – Zuru

Hey Duggee Voice Activated Smart Duggee – Golden Bear

Little Live Pets Gotta Go Flamingo – Character Options

Present Pets (Asst) – Spin Master

Rainbocorns Wild Heart Surprise – Zuru

Smashers Dino Ice Age Surprise Egg – Zuru

Squeakee The Interactive Balloon Dog – Character Options

Sylvanian Families Adventure Tree House – Epoch Making Toys

 

Lockdown Showdown:

Cluedo Liars Edition Board Game – Hasbro

Dobble – Asmodee

Monopoly For Sore Losers – Hasbro

NERF Ultra One Motorised Blaster – Hasbro

Pensilly – Character Options

Pop Up Pirate – TOMY UK

Scrabble – Mattel

Super Mario Blow Up Shaky Tower – Epoch Making Toys

UNO Showdown – Mattel

Windy Knickers Board Game – John Adams

 

Tiny Treats:

5 Surprise Mini Brands Mystery Capsule – Zuru

Bright Fairy Friends – Funrise Toys

Heroes of Goo Jit Zu – Character Options

L.O.L. Surprise! Remix Hair Flip Doll – MGA Entertainment

Rubik’s 3 x 3 Metallic Anniversary Cube – John Adams

Squishmallows 7.5” – Squad 4 Asst – Jazwares

 

Awesome Automobiles:

Back To The Future DeLorean – Playmobil

Barbie 3-in-1 DreamCamper – Mattel

Hot Wheels Sky Crash Tower Playset – Mattel

Laser Battle Hunters Vehicle – Character Options

Micro Machines World Super Van City – Jazwares

PAW Patrol Dino Rescue Deluxe Vehicle – Spin Master

PAW Patrol Dino Rescue Dino Patroller – Spin Master

Technic Fast & Furious Dom’s Dodge Charger Car – LEGO

Toot-Toot Drivers Twist & Race Tower – VTech Electronics

 

In a year which has also seen fewer holidays and more time at home, the importance of toys has come to the fore. A survey of 2,000 UK parents with young children (aged 10 or under), conducted by OnePoll on behalf of the Toy Retailers Association, has shown that this year has led to not only increased time playing with toys but also to parents growing closer with their children.

When asked if their children had played more with toys this year, 46 per cent of parents said that this had been the case and that it was a result of lockdown. 56 per cent of parents stated that they have spent more time playing with their children this year, and a striking 88 per cent of those said that the increased playtime had resulted in them growing closer to their children.

As Christmas approaches, toys seemingly remain at the forefront of children’s minds with 86 per cent of parents saying that their children either already have requested or are expected to ask for toys this Christmas. 82 per cent of parents said that they planned on buying toys this Christmas for their children, demonstrating that they remain the go-to gift for children across the country.

Space mission: How Moonbug Entertainment’s rocketing success is disrupting the pre-school space

It may be highly competitive, it may even be getting a little bit crowded at times, but there’s one thing that the pre-school sector hasn’t become in recent years – particularly now, as audiences shift their viewing habits and the means in which they engage with it – and that is, a done deal.

Compared to the work that has been going on behind the scenes of some of the most powerful digital brands in the pre-school space today, it’s relatively early days for the licensing world. It’s not been until recently that licensing has paid close attention to the kind of pre-school IP grown from the ground upwards on platforms like YouTube, and only in the last year or two that it has recognised the power that such brands can wield.

Moonbug prides itself as being one of the pioneers of this space. Just take a look at the portfolio it boasts today: CoComelon, Blippi, Little Baby Bum, and more waiting in the wings, all of which have managed to strike a particular chord with children and families on a global scale, and all of which have been the subject of some world-spanning master toy and consumer products partnerships, all driven by worldwide demand.

The world’s recent lockdown at the hands of the coronavirus pandemic, suggests Moonbug Entertainment’s senior in-house advisor, Simon Philips, simply helped to drive that engagement further. Suddenly, co-viewing between parents and children increased, and families the world over began to better see the value in the digital medium as both a means of entertainment and education for children.

 Licensing.biz catches up with Moonbug Entertainment’s Philips to talk about the rocketing popularity of the company’s portfolio, it’s ongoing mission to disrupt the pre-school sector, and what kind of plans it has in place for 2021 and beyond.

 Can we kick off with an overview of what Moonbug incorporates, you guys create, produce and publish much of the content yourselves, before handling the licensing and merchandising opportunities?

Today, Moonbug is the largest digital kids media company in the world. We have done this primarily by identifying and acquiring the most exciting kids shows with untapped potential and investing in them to create more episodes, develop new storylines and expand their reach across multiple platforms. This approach then allows us to make those brands more accessible through licensing and merchandising opportunities – deepening our connection with the audience and growing the brand identity. 

There’s been a lot of activity from Moonbug this past year, and a lot of demand for the IP portfolio, including CoComelon, Blippi and Little Baby Bum, what is it that Moonbug is bringing to the licensing space and the children’s entertainment space?

The licensing world is now turning their attention to something we are proud to have been pioneers in – the potential and power of digital brands. Early on, we focused almost exclusively on tapping into the undiscovered pool of talented creators on digital platforms who not only had significant viewership, but also a very loyal audience. 

Our thesis, which now has been proven, was simple: empower our creative team to build on these huge hits, increase the speed of production, and then distribute it across our vast distribution network. This seemed like an obvious opportunity to offer kids and families new and engaging content while growing these brands into global franchises. Over time, our creative, data and distribution teams are always looking at what works, what doesn’t, and how to deliver more of what kids and families want.

Moonbug has demonstrated that there is room in the pre-school space to disrupt and break the traditional, how has the past year or so been for you guys in terms of growth, engagement, audience reach? Why is now the right time for Moonbug to be doing what it is doing?

Historically, there was a focus on exclusive content on individual streaming platforms. Our strategy from the beginning has been more content on more platforms. It has been validating to see that the viewing patterns of the modern family reflect our approach – with increasing co-viewing across streaming platforms and connected TVs. 

The democratization of content and the freedom for families to decide what, when, and where they watch their favorite programs has been a huge driver in the growth of our portfolio, which culminated with two of our largest acquisitions and raising an additional $120 million in funding.

We believe we are well positioned to keep growing as we continue to see the immense value ‘content-everywhere’ has to our audience as pre-schoolers are platform agnostic, caring only about watching their favorite characters on screen.

We think this means meeting your audience where they are. This is why we are incredibly excited that today, Moonbug’s shows are on over 100 platforms globally and at the top of the Netflix rankings. Our portfolio currently has more than 7 billion average monthly views on YouTube alone. 

Is there an overall mission or goal for Moonbug in terms of its licensing and consumer product partnerships?

 We are making educational, family-oriented shows more accessible. By acquiring new shows and expanding them to new platforms, we’re bringing our programs into even more homes around the world. The trust of families is especially important to us and we provide the programming parents can trust will keep their children entertained while also learning along the way. We are very deliberative and thoughtful to make sure that the licensing product fits the value of the content and reflects a fun learning experience for children everywhere. 

It’s been a bit of an odd year – how have you guys seen consumer and viewer habits change over the course of 2020 and how are you placed to tap into these changes? What of these changes do you think will stay with us going forward?

 The co-viewing between parents and children was one trend we saw increase during the lockdowns, leading to a greater appreciation of how content can be used as a learning tool. As parents are taking a more active role in their children’s learning, our shows have become both a resource to parents and a moment of joy for the child. 

We began to see this shift before the lockdowns and it has since accelerated — we expect the trend to continue as an expression of consumer behavior. 

Can you talk us through the strength of the Moonbug Music arm of the business – how big a market has the children’s music/audio space become and what are your plans for developing and innovating in this space?

 We view music as an essential part of how kids and families engage with our content. A show’s soundtrack not only draws people in, but helps with their retention of the content. Our team is always working to understand the interplay between the music and narrative. We’re continuing to experiment with new ways to use music as a critical component to developing compelling, educational and family-friendly content.

What’s the next big step for Moonbug?

While this has been a very big year for us, it is only the beginning and there are many new things to come in 2021. Next year, there will be more of the engaging shows that kids know and love, along with many more original products. On the licensing side, we will be building on the incredible success of Little Baby Bum, Blippi, and CoComelon toys by introducing complementary products from apparel to games, bedding, and everything in between.

Wild Lifestyle: WildBrain CPLG’s Victoria Whellans on lifestyle licensing in the year 2020

One whole pandemic and nationwide lockdown ago, WildBrain CPLG came charging out of the blocks at the start of the year with news of the formation of its dedicated lifestyle division, headed up by its newly appointed group brands director, Victoria Whellans. A lot has happened since February 2020.

Not least, and to the backdrop of a shifting landscape of businesses, consumers, and brands each pulling themselves through the moving sands of what life looks like now, WildBrain CPLG’s Lifestyle division has continued to discover, develop, and deliver new innovations, partnerships, and product portfolios – just like it said it would – to firmly establish its foothold.

At the time of Whellans’ appointment to her role and the formation of the lifestyle division within this powerhouse of global licensing, Licensing.biz was, too, quick off the mark to get its own questions in front of the group brands director. Eight bizarre months later, and with a successful all virtual Brand Licensing Europe event behind it, WildBrain CPLG has provided us with the answers. Join Licensing.biz below for a time-capsule talk with WildBrain CPLG’s Whellans:

First up, congratulations Victoria on the new role! What will this division be bringing to the fold for both the licensing industry and for WildBrain CPLG?

Thank you, it’s a very exciting time and great to be given the opportunity to lead our new Lifestyle division.  

Alongside our entertainment properties, WildBrain CPLG has for many years represented a number of non-entertainment, lifestyle brands, including Parental Advisory and Chupa Chups. Creating a dedicated Lifestyle division gives us the opportunity to focus on maximising opportunities for our licensors across such corporate and lifestyle brands. It also allows us to more actively pitch for new rights representations in these sectors. 

Unlike entertainment properties, which may be driven by TV, movie or YouTube content, lifestyle brands often require a more high-level strategic roll-out and a different approach to entertainment licensing. Often licensing is a completely new area for corporate and lifestyle brands and licensors rely on us, as licensing experts, to guide them through the processes and requirements to build a successful licensing programme.

The new Lifestyle division brings well-known clients such as Absolut Vodka, BBC Earth and Karcher, with opportunities for licensees and retailers to develop long-term programmes built on recognised, respected and trusted brands. 

Why is now the right time for WildBrain CPLG to be launching the Lifestyle division? How is this reflective of the strength of – or the changes taking place – within the lifestyle licensing sector?

The entertainment landscape has changed dramatically over recent years. For entertainment properties, the competition for shelf space is fierce and retailers are looking for different types of brands and consumer products to broaden and diversify their offering. While entertainment properties will remain a major part of the WildBrain CPLG portfolio, it’s essential that we focus on all sectors of licensing to increase our reach and expand our remit.

We’ve been growing our corporate and lifestyle portfolio steadily over the last few years with the addition of luxury leather goods and gift brand Osprey London, Yale University and cleaning-technology brand Karcher. 

We realised these brands require a very different approach and, as our portfolio expanded, it was the right time to set up a new division dedicated to supporting these licensors.

Licensing within the corporate and lifestyle brand space has become much more prevalent at retail, with consumers wanting to own a piece of these established brands and incorporate them into their homes and everyday lives. Licensors in this space are also more aware than ever before about how licensing can benefit their brand and open up new revenue streams, with minimal risk and investment from their side.

Can you talk us through your role with the new division? How will you be shaping the division, what kind of partnerships will you be facilitating, and what brands will now be under your remit? Also, what does this mean to you and what excites you about the role?

My role is to oversee and strategically grow the revenue for the corporate and lifestyle portfolio. This will include looking at existing brands within the portfolio to ensure these are being maximised, working with new licensors on strategy development and executing against this strategy.  

I am directing the consumer products roll-out, which will be unique to each brand with a focus on securing pan-European licensees and working with our regional teams to build the programmes at local levels. For some brands, this means securing partnerships in key lifestyle categories such as fragrance, eyewear and homewares that have a broad territory reach. For other brands, the focus will be launching a programme in one market first, before expanding to other territories. 

The lifestyle portfolio includes all properties outside of entertainment and sports, such as Karcher and Parental Advisory; heritage brands Yale and Harvard University; confectionery brands Chupa Chups, Mentos, Smint; Absolut Vodka, and Malibu; lifestyle fashion brandOsprey London, 80s fitness expert and pop-culture icon Richard Simmons and BBC Earth.  Authentic Brands Group has also recently appointed us to represent its iconic celebrity brands Elvis Presley, Muhammad Ali and Marilyn Monroe, which gives us opportunity to look not just at consumer products, but also to explore promotions and endorsement deals featuring these iconic figures.

We’re very excited to have recently announced our representation of The Metropolitan Museum of Art to exclusively represent the iconic New York institution in UK, EMEA & Russia. We’ll be looking to create a merchandise programme that differentiates The Met by combining the institution’s iconic collections and art works, with the diversity and energy of New York. 

There has been a big development in non-entertainment licensing over the last few years.  Lifestyle licensing originated in the luxury fashion space and has since expanded to encompass heritage, automotive, corporate brands and more. How companies can take brand DNA and work with like-minded partners to develop brand extension programmes, lends itself to some exciting collaborations and gives consumers the opportunities to incorporate these brands into their homes, wardrobes and lifestyle. It also gives us the opportunity to apply our expertise in licensing with non-traditional licensees, to build long-term programmes for highly reputable brands whilst establishing ourselves within the corporate and lifestyle space.

The part of the role that excites me the most is the varied portfolio – working with such a diverse range of brands and organisations certainly keeps things interesting and no week is ever the same. I studied marketing for several years, so being able to work with these amazing licensors on their brand extension programmes and understand what they want to achieve and make that a reality, is an honour.

So, what have you got up your sleeve? Can you tell us about the plans for the brands under the Lifestyle division? From Absolut Vodka, to Karcher, to Yale University – it’s an eclectic and exciting mix, will there be a common thread in your plans for the brands?

We have a fantastic portfolio of brands under the Lifestyle umbrella – we want to ensure our portfolio offering is from a diverse range of industries, whilst ensuring our brands don’t cannibalise one another.  

Each of our represented brands is very different, with distinctive wants and needs. It’s important to know the brands inside out and what their expectations and ambitions are with licensing. These brands are often very cautious in their approach and the work we do with licensing has to make sense. 

Understanding how to maintain and translate a brand’s unique DNA is important to any brand extension. The goal is to understand what each licensor wants to achieve from their consumer products programmes – whether it be reaching new audiences, new distribution channels or broadening their product offering.  

For example, we have recently been appointed licensing agent for Harvard University for Europe, Middle East and Russia and will develop a strategic licensing programme targeting adults, teens and kids across categories including apparel, accessories, bags and stationery.

With the trend for products inspired by colleges and universities continuing at retail and in pop culture, we’re very excited to be adding Harvard University’s brand to our growing lifestyle portfolio. 

In the FMCG space, we have secured worldwide rights (excluding France) to another of Pernod Ricard’s brands, Malibu, and will be developing an apparel-led programme targeted at legal drinking age adults, with an initial focus on the US and UK.  Malibu is very much geared towards summer lifestyle – spending time with your friends outdoors – something we will all appreciate a lot more from next year hopefully!

On behalf of master global agent, Tact Communications, we’re also now on board for leading soy sauce brand Kikkoman in Europe – we’ll be focusing on fashion collaborations, apparel, accessories, kitchenware, and food gifting categories. 

Last month we announced representation of British contemporary artist Charlotte Posner. We’ll be creating a design-led consumer products programme across beauty, stationery and greetings, homewares inspired by Charlotte’s unique artwork with an initial focus on the UK market.

What are the first-year goals for the Lifestyle division? 

We want to ensure we’re working hard to maximise all the brands within the portfolio.  

Corporate and lifestyle brands take time to build, so although there will certainly be some short-term opportunities, it’s about having a strong long-term plan in place and working with the right licensees to form partnerships that benefit both sides. 

I am working with key sales executives across our local teams to build these brands, and also engaging with external consultants who have different areas of expertise needed for lifestyle brands. The focus will then be supporting our licensee partners, building retail placement, and working closely with our sales teams to broaden the programmes through local opportunities that compliment wider initiatives.  

Some of our brands are at the very beginning on their licensing journey so the next year will see first products hit the market which will be very exciting, and then for more established brands, it will be looking at opportunities to expand categories and retail listings.  

How have we seen licensing in the lifestyle sector change and evolve over the years, and how is WildBrain CPLG now positioned to move with it?

Lifestyle licensing has grown a great deal over the last few years. It can now be seen in every industry from music, fashion brands, automotive, FMCG, celebrities, influencers and the arts.  

Through the growth of social media, consumers can interact directly with brands and in turn brands can build relationships and trust with their target audiences which, when done correctly, has a hugely positive impact to brand extension programmes. Consumers buy into brands they admire, believe in and want to incorporate into their lives.  By expanding into licensing, brands can build a deeper connection with their consumers and create some very innovative and exciting products that appeal to both retailers and the end user.

WildBrain CPLG is a very entrepreneurial place to work, we have the support of the wider WildBrain group and the ability to think globally and act locally through our teams on the ground. Our structure allows us to adapt and act quickly where we see opportunities giving us the flexibility to evolve. We have a high level of expertise amongst our teams and are proud of our strong retail relationships across all channels and territories.  We will be able to utilise these relationships and build on our contacts to benefit this new division and maximise the properties within the Lifestyle portfolio.

 What’s the next big step for you?

One of our immediate goals is to finalise partnerships and deals for the brands in our Lifestyle portfolio and we’re already getting a strong, positive response from potential licensees. Although it’s a challenging time at retail right now, we have a wide variety of iconic and evergreen brands and are therefore able to offer retailers a variety of options suited to their needs, and also bring consumers something new and exciting. 

And of course, we’re always keeping abreast of social and lifestyle trends which may present opportunities to take on new representation for brands that complement the current portfolio!

This is an exciting new chapter for WildBrain CPLG. It’s the first time we have had a team dedicated to corporate and lifestyle brands and shows the commitment to this sector from the wider group. There is a lot to do but I’m very much looking forward to working with our partners and teams to drive these brands forward and make the division a key part of the wider portfolio.

Rising Up: MGM Studios on how 45 years later the Rocky franchise is still packing a punch

The trumpets, the grey tracksuit, the run up the stairs and the timeless story of David vs Goliath, the underdog with the eye of the tiger; there’s very little about the Rocky franchise that isn’t iconic. It’s difficult to believe that it’s been… [checks notes]… 45 years since Sylvester Stallone first stepped into the ring as Rocky, and not so difficult to believe that over the course of four and a half decades, he has emerged as a staple image of popular culture.

The sentimental affinity that the world shares with the message and storyline of Rocky aside for a moment, the statistics alone for the franchise are as impressive as Rocky’s boxing career. This is a franchise that has accrued $1.3Billion at the box office; three academy awards and 10 nominations, two golden globes across six films, and has given rise to two spin offs in the form of the more recent Creed films. 

If ever there was a case of life imitating art, suggests Robert Marick, executive vice president of global consumer products and experiences at MGM, the rights holders and studio behind the franchise, Rocky is surely it.

News of MGM’s partnership with TCG Entertainment to bring live Rocky concerts to the global stage as part of the 45th anniversary celebrations of the Rocky franchise has already fired up the engines of its core audience base across the world; so word that this is just a part of the wider plans to celebrate the global cinematic, pop culture, and even sporting culture icon that is Rocky Balboa is certain to send it into fever pitch.

Here, Licensing.biz talks with MGM’s Robert Marick to discuss a cultural icon, learn more about those 45th anniversary plans, and discover what kind of potential a brand that spans not only cinema, but pop culture, sport culture, lifestyle and more, has within the ever evolving licensing space.

People talk about iconic brands a lot in licensing, but Rocky without doubt is a true icon – of cinema, pop culture, and beyond – from the soundtrack, style, iconic film scenes, the script its story, and even the acting. Handling the licensing programme for something embedded in culture must be an exciting prospect?

To be honest, it’s a privilege. While everything you’ve mentioned is accurate, Rocky is so much more. From underdog to champion, there is so much depth to the franchise that appeals to its core audience. Because of the multi-dimensional nature of the franchise, it allows us to re-interpret the licensing program in so many ways.   

How do you begin to look at the licensing strategy for something so well revered the world over?

The Rocky franchise provides a multi-dimensional view and therefore a complimentary licensing strategy. In 2021, we’ve rallied around the theme “Champion”. As we developed the Rocky 45th licensing plan, we provided three opportunities. Train like a champion; Look like a champion; and Feel like a champion.

Each opportunity allows for unique product segmentation of licensed product. If you want to “look like a champion”, apparel and accessories is a natural fit. For those that want to “train like a champion”, gym equipment and interactive games such as VR games, workout systems allow fans to train like Rocky; If fans want to “feel like a champion” and show their fandom, publishing, collectibles and replicas will deliver on that aspiration.

In support of this strategy, we developed a bespoke style guide celebrating the 45th anniversary. Our licensing program is focused to rally the “everyday Rocky” to tap into their inner champion, celebrate champions in his or her community, and give fans new ways to show their love for the Rocky franchise all year long.

 You recently detailed the TCG Entertainment partnership, which seems to have fans really excited for the 45th celebrations. What other plans have you got for the anniversary? What aspects of licensing will the plans span? 

While the full roll out plans are still being finalized, I can tell you that we are planning a year-long celebration which will include new and exciting merchandise, interactive games, licensed advertising and location-based entertainment activations.  One example is the Rocky Run. In its seventh year, the Rocky Run unites fans from all over the world to Philadelphia, with like-minded fans, and for a day, step into Rocky’s footsteps where they are able to train, look and feel like a champion leading all the way up those famous stairs.

How much will the current global situation influence the plans and licensing roll out? How do you think it has shaped innovation within licensing, and will you guys be tapping into any of the trends here?

We don’t want to capitalize on this global situation and proactively push the point. Instead we want to focus on the future and getting through it by having Rocky fans express their own Rocky moment and using Rocky to motivate and inspire them to persevere and go the distance. It needs to be and should be organic. 

Can you talk us through the new partners you’ve got lined up for the brand, what categories will you be spanning? What of the current partnerships will you be expanding upon?

Boxing/Athleisure has been identified as a new Fashion Trend. Boxing remains mainstream, trendy and relevant for men and women and Rocky’s signature grey hoodie has made a major comeback. We are looking for key collaborations that can bring together two powerful brands. As for new categories to explore, we are looking at pet, jewelry accessories and location based and live entertainment.

Rocky and Creed are in a unique position that they cover both pop culture and sporting markets, you’ve mentioned the Rocky themed running events in the works – how far will you be taking the sports and entertainment crossover? What potential does this offer?

A great example of this cross over is the Rocky / Creed Rise to Glory VR game by Survios. It’s become an evergreen title, that – similar to the Rocky Run – gives fans a chance to step in the ring and train and feel like a champion. I am excited to share that the hit, Creed: Rise to Glory VR game will be available on console platforms in time for the 45th anniversary. Other opportunities in this area are vast and we are currently exploring our gym and fitness equipment.

Why do you think Rocky continues to resonate with fans across the globe? 

The Rocky franchise is a global phenomenon! The story has so many themes such as ambition, determination, courage, being the underdog and rising to the top etc., and that all translates across generations, demographics and cultures around the world. Everyday people can relate to Rocky in some shape, way or form. Today, more than ever, Rocky is beacon of hope and inspiration around the world. 

It’s hard to believe that it’s been 45 years since fans saw Rocky hit enter the ring for the first time. Looking back over the years, it’s amazing what Sylvester Stallone accomplished. Just like the Rocky character, the franchise and Sylvester Stallone, beat all the odds at the time as an up-and-coming writer, director and actor. 

The statistics are staggering. $1.3Billion at the box office; three academy awards and 10 nominations; two golden globes across six films and two spin offs with the Creed films. In this case, lifeimitatesart. What a champion!

In bloom: Gardening specialist Primus on the growing potential and demand for licensing in the back garden

With the increased time spent at home, with family, and the surge of the UK’s population turning to the garden space and gardening hobby as a means of exercise and ‘back to nature’ entertainment, it really shouldn’t come as a surprise that the market has become one filled with potential for the licensing space to tap into.

It was only at the end of last month that garden and gardening specialist, Primus, took home a double award win at Glee Gathering, where its range of Peppa Pig garden ornaments triumphed in both the Best of British Award and Best Garden Decoration Award categories.

The win underscored an interesting and undeniable shift in the landscape; one that Steve Perry, head of marketing at Primus, reaffirms when he tells Licensing.biz that “the garden industry desperately wants to see more licensed products in the marketplace.” It’s something the licensee spotted when it first struck up partnerships with Aardman for Shaun the Sheep and Wallace and Gromit garden ornaments, or with RSPB for its hand crafted wooden bird gifting range, and continues to see today with the success of its latest partnership with Hasbro: the market for brands in the gardening space is currently blooming.

Licensing.biz catches up with Perry, head of marketing at Primus to explore the market, why the hobby is finding younger and younger audiences, and why now is the right time for the licensing industry to be sowing the seeds for a fruitful venture in the back garden.

Hi Steve, it’s good to explore the garden with you and congratulations on the recent award wins. Seeing a licensed product take the win across two categories, how reflective do you think this is of current trends in the garden/gardening market?

I think the garden industry desperately wants to see more licensed products, having our range of RSPB hand carved wooden birds shortlisted for the same award last year also backs this up. The judges are looking for something new and original and licensed products in this category hasn’t been done like this before (other than us in other ranges).

After a very successful run from our Shaun the Sheep licensed products we decided that we would expand our licensing portfolio, so I reached out to the licensing agency behind the IP on the idea of translating the ever popular Peppa Pig characters into an ornamental form suitable for the home and garden, which they were incredibly receptive to. A deal was soon made and then after a lengthy development stage the final products have been released and all are in agreement that they are fantastic, the initial market feedback speaks for itself.

It’s here that the licensing category manager at Hasbro, Zahara Gul told us that given that the show is ‘very much about first experiences’, the team is “looking forward to working with Primus to extend the garden offering to get kids involved with nature.”

You guys mention other licensed lines in Shaun the Sheep and Wallace and Gromit. What potential do you see for the world of licensing in the garden and gardening market?

We feel that brand licensing in the garden sector is a large growth area, you don’t see the same kind of licensing activity like you do in other sectors and licensors now are definitely starting to realise this. In particular we feel this is the case with younger audiences who are heavily bought into brands and characters and no doubt in part why our new range Peppa Pig and friends did so well at this year’s Glee Gathering winning two awards – Best of British and Best Garden Decoration categories.

So far the response from the trade has been the best we’ve ever had to a new licensed product collection. We knew Peppa Pig would be popular but we doubled our initial order quantity purely from the demand generated by our pre-order catalogue. We know our retailers’ customers are going to love these ornaments, as well as the more than 200 other new products for the 2021 season. We loved them from the start but we were unsure what the reaction would be from the trade and customers.

Being shortlisted for best new product at the Glee Gathering 2020 and with the volume of pre-orders coming in we are glad everyone likes them as much as we do and I think this is simply going to open more doors for the world of licensing and the gardening market. It is certainly pivotal to our plans going forward.

What sort of increase in interest in gardens and gardening have you seen in terms of customers and audiences as a result of the UK lockdown measures? Has this fueled growth in the market?

Like many industries, the current pandemic has certainly had an impact on the gardening sector, but thankfully it’s potentially had a very positive long term impact in this particular sector, The Horticultural Trades Association states that ‘almost three million gardeners sprung up this year as a result of lockdowns.”

The pandemic has created a new generation of enthusiasts who have found the joy that can be had from their garden and we hope people continue to embrace this new found love of gardening especially the younger, family demographic we are seeing a big increase in.

Arguably the success of the Peppa Pig range suggests that more families are taking it up as an ‘at home’ hobby. Would this be the main market for licensed garden products? What do you look for in a licensing partnership or property to work with?

To this point garden gift and decor has been our area of focus, I would agree that part of Peppa’s success has been due to the family appeal but there is a huge amount of scope to be had with brand licensing in the garden sector.

For us, when choosing a license partner to work with we do not necessarily look for trends or fads, instead we look at characters and brands that have stood the test of time and can almost be seen as “classic”, certainly this is the case for our Aardman collection, with Wallace and Gromit having their 30th anniversary last year.

Unlike with plush for toy industry where licenses are based heavily on what’s hot right now, I think the gardening market appreciate heritage and something that is lasting.

What does the current licensed range at Primus span? Have you got plans to build on this? What plans have you got for tapping into the younger audiences?

Currently Primus has focused heavily on decor and gift lines such as Aardman metal garden ornaments, our RSPB hand carved wooden birds and now Peppa and friends, garden decor is the core of what we distribute at Primus with over 500 other non-licensed products in the category. However we do see that there is a real movement right now to encourage young gardeners and get them into the hobby from a very young age.

There’s a huge amount of positive experiences that can be had by introducing children to gardening and research suggests children perform better at school if they’re involved with gardening, as well as it being a healthy and active hobby as opposed to video games and other not so stimulating interests’ younger generations can have.

Working with our existing licensors and potentially some new partners we feel that Primus could help to lead the way by using some of their favourite characters to help inspire them to engage into this new activity and get a lot of joy from it.

Products of Change’s Helena Mansell Stopher on the new consumer mindset, toys, and sustainability

From a staple of the licensing and merchandising industry to becoming the face for the sweeping change rumbling through it and the minds of consumers across the UK, Helena Mansell Stopher is the director of Products of Change, a platform on a mission to bring sustainability into the heart of the consumer products space.

Licensing.biz catches up with the sustainability specialist to talk about shifting consumer mindsets, the impact of the movement on the toy industry specifically, and the next moves for the Products of Change platform.

Hi Helena, thanks for chatting with us. To start off, can you talk us through Products of Change? What is the concept, and what is it setting out to achieve in the consumer products space?

Of course, I would love to. Products of Change is currently transitioning from a local group discussing sustainable practices, to a global sustainable networking group driven through an online digital hub. The hub will enable members to be sustainably educated through research and educational content, to learn through our webinars and podcast for quick on the go learning, as well as connect through our members hub on site directly to share best practice and gain knowledge.

How did the move all come about for you? What drives you and the mission statement of Products of Change?

It was during my time as licensing director of National Geographic Partners that the devastating effect of climate change and the impact that the consumer goods industry was having on the environment really hit home, we worked extremely closely with the National Geographic Society and once I knew what we were doing, I couldn’t ignore it.

I got a small group of leaders within the industry together to discuss how we can start to make change through sharing best practice. Our mission statement is really ‘educating to inform change’ through bite size pieces of content, we really want to drive peer to peer learning as the only way we can have a positive impact is if we come together collectively to do this.

What has reception been like from across the industries to Products of Change and the movement that you guys are championing? Why is now the right time for everyone to be joining the ‘movement’?

It’s been a phenomenal response, what is encouraging to see is that people truly want to make sustainable change but they just don’t know where to start. Covid has made 2020 the toughest year for business and though many companies are focusing on keeping their head above water, what has become more apparent is the relationship between human activity/business and the natural world, they are all interlinked and have dramatic effects on each other.

If we are to future proof our business we must first look at how we extract materials, our transportation, our carbon footprint, the list goes on to reviewing the full lifecycle and impact of actually creating product, we can then start to build better systems that don’t harm the environment and enable us to look after the planet and its wildlife, and in-turn look after ourselves…. To me this is the reason why the movement is so important now, we have to be the first generation that creates this new path forward for the next generation to follow and excel.

If we look at the toy space specifically – we are seeing a lot more attention being paid to the topic of sustainability from retail and toy brand perspectives, but there’s still a long way to go. Can you talk us through some of the activity Products of Change is starting to see in this department? How do we start to get businesses to think about the significance of the issue today?

For me the toy industry has some of the most imaginative inventors, there are so many elements to play with and because of this I really do feel the industry can start to take a lead in this area, though the flip side of this is the mix of material input in the toy process as it does pose large challenges for the end of life of a product.

There are some amazing initiatives out there, new materials that will enable the market to move forward and circular business models which will change how we look at product design, there is monumental movement happening here.

The European parliament and most recently the UK government have issued new legislation for plastics and packaging, that for the UK will come in to effect in the next 17 months, this has woken up many retailers and manufacturers as if you don’t have 30 per cent of recycled plastic in your packaging you will be taxed, the infrastructure is not yet in place to supply such a large demand so you can imagine what’s happening in the background to supply this material in time for the April 2022 start date.

Because of this, Products of Change is working closely with the leading children’s UK educator Wastebusters who deliver in class environmental education to all UK schools. Wastebusters have built a market wide recycling infrastructure for hard to recycle plastic toys and plush. We are working with them to drive a national campaign called Recycle to Read (R2R), working with the Children’s Literacy Trust to deliver the programme across schools and retail, children will bring in toys/plush/clothing/waste electronic to be swapped in school and at retail for eco points, the eco point will buy schools books and equipment to aid education.

The R2R programme launches for Waste Week in March 2021 and is currently looking for all producers and brand owners to become part of the programme, you can find out more here https://toytakeback.org. For the Wastebuster campaign we are also working with EPPIC (the extended plastic partnership for innovation within circularity) for their flexible infrastructure which has just launched with the Co-Op and will roll out across retail in the coming months, as well as building a plastics group within Products of Change that is lobbying for parity with plastic signposting, we are working with WRAP, OPRL and a handful of leaders to achieve this.

When we focus on toys, the design stage seems the most fundamental to promote sustainability with, design sustainability into a product from the outset. How integral do you think this is to the idea of sustainability in the children’s space?

The design stage is one of the most important stages of creating sustainable product, It’s so much harder and more costly to add sustainability in at the end of producing something. Designing sustainably is more than just using a recycled material, it’s also asking questions like what happens at the end of life of a product and how do you design so that it can be easily recycled, how do you keep a product in circulation (are there bits that can be reused?) etc. We are designing products for the future generation, a generation who is more aware of climate change than we were and is leading their purchasing decisions.

We also have to work together to educate consumers, currently big box means big value, we have created that, so we can reverse that rule and build new value in. The packaging can becomes an integrated part of the toy (not to be thrown away) the opening of a product a positive experience, I’m looking forward to seeing some creative packaging solutions coming through over the next few months.

Do you think the toy industry is being reactive enough to the issue of sustainability? Big question – is it right to be reactive, or should businesses be setting the standard for the consumer?

I think that the full consumer goods industry is being reactive, there’s a few standout leaders like Unilever, Ikea, LEGO that have been building sustainable practices into their business for the last ten years, but they still have their challenges. Even the fashion industry who is ahead of the toy industry started the conversation with launching small collections of ‘eco’ product, priced higher as an alternative for the consumer, not necessarily looking at delivering every day sustainable product at a fair price, however there are a few leaders two being Asda and H&M, delivering their everyday sustainable clothing at the same price.

The needle is moving with many companies now stating their intentions of what they want to achieve over the next ten years to become a more sustainable business, we need to have the faith that this will all be delivered.

Can you talk us through the Sustainability in Licensing Conference – what have you got planned for the big event this year… and however it may look this year?

Yes of course, the event has been pushed back to November the 25th due to Covid, we would absolutely love to still run the event physical but with guidelines changing daily we are tracking them to see what our options are for the November date.

Covid related issues aside the conference was created to be the starting point for the industry to learn more and build sustainable practices in their business. We have an amazing line up of presenters talking about the importance of design, new ways of thinking such as the circular economy, new technologies such as break down plastic and new tech within manufacturing, through to marketing, insights and finance, our aim is to touch on all the core pillars of creating a more sustainable business for the industry.

Thanks Helena, anything you’d like to shout about?

I’m just really pleased that the conversation has started, we have a long way to go but I do believe that together we can do this, we can no longer use sustainability as a competitive advantage, we must share the knowledge we have to accelerate change and start to re-imagining what a sustainable future will look like across the full supply chain and end of product life.

My ambition is that through Products of Change we can cooperatively achieve this change together.

ARTiSTORY’s Natasha Dyson on the future of the art and culture licensing space

ARTiSTORY, a licensing super group (The Crosby, Stills, and Nash or the Emerson, Lake, and Palmer of the industry perhaps?) comprised of Natasha Dyson, Dave Collins, and Tamara Dixon, couldn’t have arrived at a better time for the art and culture sector.

Alongside the arts and the hospitality industries, the cultural sector has been one of the hardest hit by the events of the past nine months, with venues and organisations forced to close or cope under the financial pressures drawn out of large decreases in footfall and visitor numbers all at the hands of the Covid-19 pandemic.

As a result, licensing has become the beacon of light and a means for the sector to continue to reach its audiences across the globe in the meaningful ways that resonate with the public, while developing the much-needed incremental resources for themselves. And, made up of a team of ‘pioneers in the art and cultural IP licensing sector,’ this is just what ARTiSTORY is setting out to achieve.

The question is: just how big an impact is the coronavirus pandemic likely to have on the future of the art and cultural sector, how has it shaped new means of consumer and fan engagement within it, and what will licensing now have to achieve or adapt to in order to ensure those meaningful experiences are maintained?

Licensing.biz catches up with Natasha Dyson, co-founder and licensing director of ARTiSTORY to talk all this and more.

Hello Natasha, it’s nice to catch up. Just to kick us off, and to recap, what is ARTiSTORY, what is it bringing to the licensing space and what is your role in the new venture?

A new venture specialising in working in the art and culture sector, ARTiSTORY acts as a master licensee to IP by helping them to launch design led licensing programmes across Europe and North America.

ARTiSTORY merges art and culture with our daily lives through exceptional consumer goods, engaging storytelling and interactive shopping experiences.

My main focus is on developing the licensing programme on behalf of our clients. Though as you can imagine, as a new company we all wear many hats at the moment in order to get everything done.

Why is now the right time to be launching ARTiSTORY? How is this reflective of the way the licensing industry or consumer tastes have changed? 

The founding members of ARTiSTORY have been working in licensing for many years. As a team we are pioneers in the art and cultural IP licensing sector, and in the past have developed and launched numerous award-winning licensing programmes. As an example, the founding members have worked with the MET, Natural History Museum, V&A and British Museum, just to name a few, and we’ve worked with global top consumer brands and retailers, such as LVMH, P&G, Nestle, Miss Sixty, Amazon and Uniqlo.

COVID-19 has forced closures across various art and cultural organisations which has led to more demand within the art and cultural sector to continue to reach their audience in meaningful way while still developing incremental revenue sources. We see this is the perfect moment for us to bring our expertise and resources under one roof by setting up ARTiSTORY, so from a start, ARTiSTORY is an industry leader in driving the global development of art and cultural IP licensing.

ARTiSTORY is very much tapping into the heritage and cultural space – why is this such a strong sector for licensing?

The world of art, cultural and science IP is very unique in many ways. Firstly, it has literally countless precious artifacts and objects, ranging from Pottery of ancient Greece, to master paintings from Renaissance, from Kimono collection from Japan, to contemporary artists such as Andy Warhol. Each piece of these artifacts and objects offer ARTiSTORY wonderful sources of design inspiration and elements for storytelling which we then license as a package to our licensees.

Secondly, art and culture are universally cherished by consumers worldwide, regardless of their age, language and professions. Many consumer brands and retailers with whom the founding members have worked are all impressed by the scale of the impact, the effectiveness of new user acquisitions that art and culture IP has delivered. As an example, a recent market report released by Alibaba Group in 2019 indicates that art and cultural IP licensees reported an average rate of 70% customers are first time customers to them, thanks to the art and cultural IP. In a world where the costs of user acquisitions are so high, licensing has proven to be a great and cost-effective marketing tool.

How will you approach this space, and what will be at the heart of the partnership’s you guys forge here?

With a track record of success in the art and culture sector we are confident that we can convert our strong existing relationships into new partnerships. ARTiSTORY is an appealing proposition to IP, retailers and brands alike as there is no other company that come close to what we have achieved in our former roles in this sector.

ARTiSTORY offers consumer brands and retailers the possibility to elevate their product designs, acquire more customers and charge a premium price.

How are you guys looking to push the envelope of innovation in this space? What sort of partnerships will be top of your list?

Past success and research tell us that we need to look beyond the traditional audience for this sector and reach out to a younger audience. As well as looking to work with brands and retailers that already appeal to this age group, we will be targeting those that don’t as this is where we can really add value to their businesses and drive customers to their stores.

To appeal to the younger audience ARTiSTORY will invest in content development including social media postings, videos, documentaries, live streaming, talk shows, workshops and more. Equipped with high quality content, we will launch various marketing campaigns to promote our licensed products and our IP partners.

How do you think the current situation will evolve the heritage and cultural space overall – i.e virtual tours – will they be a part of the future of the space? – and how can licensing tap into this evolution?

In the era of pandemics, cultural institutions remain closed or are expecting lower levels of visitors – which result inevitably greater revenue shortfalls. How to stay financially sustainable is a key question that cultural organisations need to solve in order to keep their missions alive.

Licensing, as proven in many world’s leading museums such as British Museum, The MET and V&A, is an effective practice that not only allows cultural organisations to enjoy incremental revenue but also enable them to extend their reach to tens of millions of audiences globally.

We see digital tools such as virtual tours and live streaming to be an integral component of future licensing programmes. This is something we plan to implement for our clients having seen first-hand how successful it has been in other markets. We hope to build loyal fans of art and culture products through interacting with audiences around the world.

What are the key trends you guys are seeing in licensing at the moment, and how will ARTiSTORY be tapping into these?

Obviously the last few months have been very strange for everyone and there has been huge shift in the way consumers buy products, and also the products they are buying.

Online has become such an important channel over the last few months and now many people have switched to online purchasing they will continue to shop in this way. Brands and retailers that have an online presence are appealing to us due to their accessibility and the fact that our target consumer primarily shops online.

Whether online or in-store we are seeing an increase in customer experience spending. ARTiSTORY can help retailers and brands bring customers back into their stores through developing innovative store experiences.

A trend that is becoming increasingly important to consumers is the desire to purchase sustainable products and buy from brands and retailers that they know are sustainable. ARTiSTORY will be working with IP that has preserved history for thousands of years. It’s now our responsibility as an industry to preserve the planet for future generations. Material, packaging and reusability will make up part of the selection criteria determining our partners.

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….