Rocket Licensing | “There’s real opportunity to make retail an experience and destination again”

For those of the industry who tuned into the special licensing panel discussion at this year’s London Book Fair, albeit in its digital format, you’d have caught Rocket Licensing’s join managing director, Rob Wijeratna waxing lyrical on the virtues of Eric Carle’s The Very Hungry Caterpillar, a phenomenon of the children’s publishing space and extended licensing market, despite the book itself being only 22 pages long.

At the crux of Wijeratna’s point was that building a brand is ‘about telling a story’ no matter the size (or page length) of the source material. The Very Hungry Caterpillar is today a globally loved franchise that is not only a staple of book shelves and schools across the country – or the planet – but of the preschool and nursery space as a whole.

Central to the storytelling that Rocket Licensing weaves through the wider activity around the title is the experiential licensing, a pocket of licensing that so often acts as ‘an anchor point around which the many facets of a licensing programme can centre. A sector that faced some rather ominous hurdles over the last year, experiential licensing has been forced to adapt and change shape over the course of the past 18 months, working to uncover new spaces within the home via virtual and digital means.

But it’s a space now beginning to open up once again. And as such, Licensing.biz thought it wise to catch up with Rocket Licensing brand manager, Melissa Satterly, to discover what the licensing agency has planned for the return of live experiences for The Very Hungry Caterpillar, Beano, and a few others among its core portfolio.

Hello Melissa, thanks for taking the time to answer our questions this week. The most obvious point to address first and foremost is the pandemic and the impact this has had on the experiential licensing space. As we begin to ‘unlock’ and remove social distancing measures, what sort of excitement is there around the return of experiential licensing?

With things opening up again and families increasingly looking for, and getting excited about, staycations and days out nearer to home, now feels like the perfect time to be engaging with experiential licensing and family-focused activities. We’ve seen real enthusiasm and high visitor numbers for the branded events that we have put on so far in 2021 and are excited for the roll out of several more initiatives over the summer.

How do you think experiential licensing has evolved over the course of the pandemic and what lasting impression has it left on the market and consumers? How do you begin to reintroduce experiential licensing to a post-pandemic world?

The pandemic saw Rocket and our partners take a very different approach to experiences, with the transition to online and at-home events. For example, our annual The Very Hungry Caterpillar Giant Wiggle partnership with Action for Children took place online in 2020 as an at-home activity pack for families. In addition to this, Action for Children really responded to how families were spending lockdown by launching a Growing Challenge subscription pack for little gardeners, an experiential product that we are excited to see continue to do well post-pandemic as well.

We also worked closely with License to PR to deliver lockdown-suitable content, creating a social media campaign for The Very Hungry Caterpillar that targeted parenting/foodie influencers who provided fun caterpillar-inspired recipes for people to try at home, while also promoting the Feed the Hungry Caterpillar game from University Games, responding to the rising popularity of games and puzzles while families were at home. This was one of our most successful campaigns to date.

With lockdowns easing, we have been careful and strategic in the experiences that we have put on, for example focusing on fun outdoor activities while restrictions have remained in place indoors. The first major experiential partnership that we have seen in 2021 was the Big Beano Bonanza at Kew Gardens, which adhered to all guidance on social distancing, with Beano-themed Covid safety signs along the trail, hand gel stations, marshalls and pre-booked visitor slots.

The sale of our branded and co-branded Beano product was initially focused online for the earlier stages of the event while the visitor shops remained closed, and advertising took on an online and local focus.

Can you talk us through some of the key partnerships you’ve secured across the experiential licensing space recently?

We are really excited to have a current partnership for The Very Hungry Caterpillar taking place at London Zoo (running until 16th July). Families can enjoy a fun range of activities, including crawling through a giant fruit story trail, crafting and story-telling sessions throughout the day, as well as the opportunity to visit Butterfly Paradise and Bug House.

For 2021, we have also partnered with Gulliver’s Valley (Rotherham) and Gulliver’s Dinosaur and Farm Park (Milton Keynes) for a range of branded activities for both The Very Hungry Caterpillar and Beano. The Very Hungry Caterpillar presence launched on Saturday, May 1st and includes Meet & Greets, birthday parties, crafting activities and even themed accommodation, so that families can spend the night in their very own cocoons.

The Beano characters will be getting up to all sorts of mischief, including a Beano Blasters! laser tag attraction. We are also very excited to have just finalised a partnership with Escape Live for a Horrible Histories Escape Room, opening later this year and giving families the opportunity to be immersed in a mission that transports them through multiple different time periods.

How important will experiential licensing be for retail in enticing consumers away from the online space? What opportunities are there now available to reboot the retail sector through experiential licensing? Are there any examples of this you can give from your own portfolio?

With the shift to ecommerce and online over lockdown, there is a real opportunity now to make retail more of an experience and destination again, as people get excited to get out and about and enjoy a physical browse in store. Another of our The Very Hungry Caterpillar partners is Bluewater shopping centre who has used experiential licensing to enhance the family shopping experience with the addition of The Very Hungry Caterpillar nature trail and in-mall storytelling telling events.

Bluewater is surrounded by 50 acres of landscaped parkland, which was a popular location for local visitors during the lockdown. They opened a new The Very Hungry Caterpillar storytelling trail this May half term to further build on the existing branded nature trail. The new story trail consists of seven signposts, which are designed using imagery from the book and feature cut outs for photos opportunity and QR codes that tell the story through narration by local school children. It’s a lovely way for families to enjoy time together whilst shopping at Bluewater.

From a Rocket Licensing perspective, what makes a successful partnership in the experiential licensing space?

It’s always so important to be able to match up the brand values of the location with the licensed property. For example, with The Very Hungry Caterpillar, we have really focused on nature-driven partnerships with the likes of the Royal Horticultural Society, the Eden Project and the nature reserve at Bluewater. In terms of execution, we aim to create multi-dimensional experiences, with not only a variety of activities, but opportunities for co-branded merchandise in location-based retail outlets.

Indeed, experiential licensing offers great opportunities to showcase product for our brands in fantastic cross-category displays and really get our licensees working together in collaboration. It is also important for venues to use digital engagement to drive families to the events through comprehensive marketing, advertising and social media promotion.

What do you enjoy the most about the experiential licensing sector, what level of innovation and creativity does it offer you guys and the brands you work with?

It’s always so wonderful to see children and families engaging and having fun with the brand activities; we get so much traction for the partnerships on social media and absolutely love looking at all of the photos! And yes, the creativity of the activities is always fantastic to work on. For example, our recent Beano trail saw a mile long trail including 3D bespoke comic strip, whoopie cushion stepping stones and water pistols over the lake! It’s always really satisfying to see the collaborative effort that goes into these experiences, bringing together marketing, creative and events team with product offerings from our licensees to create brand-immersive events.

What do you think the future looks like for experiential licensing and what are the key points of change in this sector?

We are confident that this sector will continue to grow, generating strong awareness and revenue for brands. Venues like Escape Rooms are only just beginning to engage with licensed IP so this is surely an area that will continue to expand. It’s also likely that experience and retail will draw increasingly close together, exploring more in-store experiences at retail as well as increasing the focus on co-branded product and retail promotion, in association with events and activity venues.

What’s the next big step for you guys in this space?

We are continuing to look for new appropriate experiential partners for our brands and have already started early conversations for next year. We have had great success with experiential licensing in particular for The Very Hungry Caterpillar over recent years and are now increasingly expanding our focus to some of our other fantastic brands, such as Beano and Horrible Histories, to find the perfect location-based fit.

We also have some fantastic adult brands in our portfolio which we would also like to develop in the experiential area. It’s always exciting sharing brand ideas with new partners to create collaborative, engaging and fun experiences for visitors whilst supporting licensed product, and this is what we will continue to do.

Amazon waste investigation sparks UK government call for ‘more re-use and recycling of products’

An investigation into one of Amazon’s Scottish warehouses has compelled the UK government to call for ‘more re-use and recycling of products’ after it was discovered that the online giant is destroying millions of products a year.

A spokesperson for the Prime Minister, Boris Johnson, said the government is ‘looking at regulations to increase recycling practices’ and to ‘make sure retailers take more responsibility for things like electrical goods.’

The call follows an investigation by ITV that found items including smart TVs, laptops, drones, hairdryers, and thousands of sealed face masks had been sorted into boxes marked ‘destroy’ at the Amazon Fulfilment Centre in Dunfermline, Fife.

Speaking anonymously, an ex-employee at the site revealed that their target was to destroy 130,000 items a week.

“I used to gasp. There’s no rhyme or reason to what gets destroyed,” they said. “Dyson fans, Hoovers, the occasional MacBook and iPad; the other day, 20,000 Covid facemasks still in their wrappers. Overall 50 per cent of all items are unopened and still in their shrink wrap. The other half are returns and in good condition.”

The Prime Minister’s spokesperson said that the business secretary has already been in conversation with Amazon on the issue, adding that “we absolutely want to see more re-use and recycling of products.

ITV also found a leaked document from Amazon that showed more than 124,000 items were marked ‘destroy’ during one week of April, compared to 28,000 items in the same period labelled ‘donate’.

Amazon has however, denied the claims, telling the PA news agency that no items are sent to landfill in the UK, but that, at last resort, it will send items to energy recovery; a means of stripping recyclable materials from products before the rest is reconverted into energy.

A statement from Amazon published in The Independent, said: “We are working towards a goal of zero product disposal and our priority is to resell, donate to charitable organisations, or recycle any unsold products.

“No items are sent to landfill in the UK. As a last resort, we will send items to energy recovery, but we’re working hard to drive the number of times this happens down to zero.

“We are committed to reducing our environmental footprint and building a circular economy programme with the aim of reducing returns, reusing and reselling products, and reducing disposals.”

The Amazon spokesperson also denied that it was cheaper to dispose of the items instead of returning them to the domestic sellers.

Hasbro and Reebok combine forces to launch Mighty Morphin Power Rangers footwear collection

The global entertainment powerhouse, Hasbro has partnered with Reebok to introduce a new collection of trainers based on the original ’90s television series, Mighty Morphin Power Rangers. The new family footwear collection pairs some of Reebok’s iconic silhouettes with five of the original Power Rangers.

The characters featured in the line-up include the Red Ranger, Black Ranger, Blue Ranger, Pink Ranger, Yellow Ranger, and Megazord, Each of the Reebok models represent their Power Ranger, bringing in elements to connect the show to its corresponding Power Ranger and Zord.

Beyond unique details that relate to each character, each style incorporates a Power Coin, the Power Rangers bolt and materials inspired by the metallic Zords. And if that’s not enough, all six models will be packaged in shoeboxes designed to resemble different elements of the Megazord.

Combine the six boxes and, you’ve guessed it, avid collectors will be able to assemble a limited edition Megazord figure akin to the television show model.

So let’s take a look at those six models in a little more detail.

The range kicks off with the Zig Kinetica II Red Ranger, pairing the Red Ranger’s athleticism and personality with Reebok’s new Zig Kinetica II. The shoe features a jagged toe box to represent the Tyrannosaurus Zord’s teeth with silver Zord accents along the midsole.

Next up is the Nano X1 Black Ranger, inspired by the Black Ranger’s sleek look, agility and speed. The shoe features a heel tab design that references the Black Ranger’s signature ’90s fashion sense.

Cluc C Legacy Blue Ranger pays homage to the Blue Power Ranger’s work through the translucent sole, which shows an imortant aspect of the shoe that is so often shrouded by the outsole. The sneaker also includes a white collar and heel blocking to resemble the design of the Triceratops Zord’s crown.

Reebok’s Freestyle Hi Pink Ranger is the company’s first workout shoe made exclusively for women, designed to represent the Pink Ranger – known for promoting individual empowerment and investing in others by teaching aerobics at her community centre. The shoe incorporates pink stripes down the front of the upper that make reference to the Pterodactyl Zord, as well as a green broken heart on the inside strap that alludes to the Pink Ranger’s relationship with the Green Ranger.

Club C Yellow Ranger, a silhouette known for its’ adaptability from the skate park to the tennis court, matches the Yellow Power Ranger’s signature versatility. In addition to Zord markings, the Club C Yellow Ranger features a wing logo on the back of the tongue as a tribute to Yellow Ranger actress Thuy Trang.

Finally, the Question Mid Megazord features a range of markings to represent the Zord, from the black and yellow logo on the tongue that resembles Zord eyes to the V-printed eyelets that emulate Zord teeth. The shoe also includes a question mark on the right toe with an M for Megazord.

The Question Mid Megazord will be available exclusively at Reebok.com/power_rangers beginning June 29, 2021. All remaining models in the Reebok x Power Rangers collection will be available at both Reebok.com/power_rangers and various additional retailers on June 29.

Currently, Power Rangers is celebrating 28 continuous years on the air, making it one of the longest-running kids’ live-action series in television history, with nearly 900 episodes aired to date.

Created by Haim Saban and launched in 1993 with Mighty Morphin Power Rangers, the franchise celebrates its 28th season, “Power Rangers Dino Fury,” currently airing on Nickelodeon in the US.

Sustainability in Licensing | Toy industry sustainability needs ‘relentless innovation’, says ZURU

Sustainability in the toy industry will not be achieved in one move, but through ‘consistent and incremental improvements’, as well as relentless innovation, is the message being promoted by the international toy maker, ZURU, ahead of the Sustainability in Licensing Conference this week.

Speaking with ToyNews before the online conference kicks off on June 24th, Amelia Jory, global marketing manager for seasonal, preschool, and celebrations at ZURU, has intoned that when it comes to sustainability within the toy industry, it’s an area ‘in which there is a lot to learn and implement.’

ZURU Toys has taken the sustainability message to the next level in recent months with the first roll out of its ‘summer just got greener’ campaign for its leading seasonal product, Bunch O Balloons, highlighting the company’s move to more sustainable production methods by using 100 per cent certified and traceable recycled plastics to make its stems and caps. The company also switched its balloon pieces to be made from natural rubber (derived from plants).

The company’s original goal was to remove 500 tonnes of virgin plastics from entering the environment. ZURU has subsequently doubled the number of its original target this summer season.

“We have begun on our path towards products and innovations that have a lesser impact on our environment by approaching our business with a vision of preparing for the future – the world in which children will one day live and play,” said Jory. “We view sustainability as a commitment, to leave this world better than when we were brought into it.

“Sustainability is an area in which there is a lot to learn and implement. There isn’t just one single thing that needs to change and it will have fixed or combated the climate crisis. We believe sustainability is about consistent and incremental improvements and being relentless about innovating to ensure we are moving towards a greener and more sustainable future.”

Jory suggests that the social conscience of the firm has grown in tandem with the social conscience of society and is a company fuelled by the passions of its team to adopt and implement new steps towards the sustainability movement.

“We are constantly looking at how we can incorporate sustainable practices into our business, products and future lines of toys and consumer goods,” said Jory. “Our key sustainability leaders in the business will be speaking at the SILC event; including myself and our CEO; Anna Mowbray, Global Marketing Director; Henry Gordon; Seasonal Marketing manager and Head of product; Aneisha Vieria.

“We believe that sustainability is a collective effort that starts internally and is fostered as a part of organisational culture which leads to greater external initiatives and impacts.”

New targets have now been set by the firm in the continued journey towards better sustainability, but these won’t be revealed until the Sustainability in Licensing Conference this week.

SILC21 has been recognised as a platform for leading players in the toy and licensing industry to share key insights into what has worked for them on their own sustainability journeys.

“For such an important and time sensitive topic, it’s important we all share insights and collaborate to achieve the common goal of better our planet. Sustainability is no longer a ‘nice to have’ initiative rather, one that is absolutely crucial to the future of our environment and business,” concluded Jory.

Horticultured | The Royal Horticultural Society on bringing 200 years’ of gardening history to new audiences

From garden tools to wine, and chocolates to canvas shoes, all via the mulch aisle, when the Royal Horticultural Society puts its name to something, it carries with it the weight of over 200 years’ of rich heritage and authority on the subject of the country’s unerring love affair with the garden and the produce of the natural world it inhabits.

At a time in which heritage licensing is witnessing a stark upwards curve in demand from consumers today, while gardening is seeing an equal surge in consumer interest from across the age ranges, spanning children an families, to young adults and of course the core audience within which the RHS brands sits, it’s understandable that the organisation’s licensing division has become a hive of activity, abuzz with excitement over its latest developments in the space.

Here, Licensing.biz catches up with Cathy Snow, licensing manager at the RHS to find out how the firm brings its 200 years of history to the contemporary licensing space, what audiences are demanding from the heritage licensing sector today, and how the Royal Horticultural Society is embracing and encouraging new audiences to explore Britain’s own back gardens.

Hello Cathy, thank you for chatting with us today. To kick us off, could you give us an overview of the RHS brand and the values that it brings to the licensing space? How does the brand’s licensing efforts work to promote the ethos of the RHS, from wildlife and conservation to health and wellbeing?

Cathy Snow, Licensing Manager, RHS: “Inspiring everyone to grow” is our brand message and gardening has been our focus for over 200 years. But we turn this messaging into action. The Royal Horticultural Society is a charity, yes, but it’s also a campaigning institution, an educational powerhouse, and the owner of some of the most popular visitor centres and gardening shows in the country, regularly attracting millions of people. We also support everyday gardening and its proven physical and mental benefits, many of which became more apparent than ever last year.

Of course our licensing work helps us to fund these efforts and raise awareness of them. But licensing itself has to fit in with the brand and its ideals. Sustainability and good ethical and environmental practices are important in our campaigning work but also important in terms of choosing partners and supporting their manufacturing processes. 

The RHS brand is a hugely reputable and deeply respected name. How do you leverage the rich heritage of the brand itself to build on the licensing portfolio? Where do you begin with building out a programme for such a revered name as RHS?

The overall RHS licensing campaign, quite reasonably, references the brand’s rich British history. But it does a lot more than that. Our products succeed in the marketplace because we look at our core strengths and assets and focus on products centered around those. This approach is especially notable in the gardening category, where high-quality tools and stylish garden furniture are promoted alongside peat-free gardening products, and an extensive range of core gardening essentials suited to every level of gardening ability.

“More heritage organisations than ever are entering the licensing arena and developing licensed products – but the best of them are not solely focused on commercial gain.”

However, this approach also influences other categories, which aim to raise awareness of our work and ideals. Many designs – including those used on a growing selection of adult apparel – are inspired by imagery from the RHS Lindley Collections, the world’s largest collection of botanical art. Scholastic UK has launched a programme of entertaining, informative and beautifully illustrated activity books for children aged seven to 12, encouraging readers to explore and enjoy nature outdoors. Information on tags and packaging helps to promote our work. Our children’s clothing promotes gardening in a fun way with veg and plant imagery and witty slogans. And of course many of our products are made by craftspeople and sourced in the UK.

Whatever the category the licensing team work with licensees and retailers not only to provide the best possible products but also to educate consumers about gardening and share our own love of horticulture with everyone no matter their age, ability or gardening space. 

How has ‘heritage licensing’ changed over recent years, what do consumers expect in terms of brand narrative and story-telling in ‘heritage licensing’ today, and how is this reflected in your approach to licensing RHS?

More heritage organisations than ever are entering the licensing arena and developing licensed products – but the best of them are not solely focused on commercial gain. RHS licensed products must be relevant, appropriate and the best quality possible. If we don’t think a product is right for the RHS, we won’t approve it.

Consumers expect RHS licensed products to outperform other similarly available items; if a customer buys a pot with a 10-year frost-proof guarantee they expect it to last for more than 10 years. This is why we carefully approve every product and check its performance and quality. 

And of course, the brand narrative – inspiring everyone to grow – influences all our partnerships, from garden tools to wine and chocolates, and from mulch to canvas shoes.

The licensing and story-telling potential that RHS boasts must be incredibly exciting. What level of creativity does the depth of the portfolio afford you with your licensing plans? How are you applying innovation in licensing to new and varied audiences?

The RHS style guides are an obvious starting point. They make use of the RHS Lindley Collections – the world’s largest collection of botanical art, including some 25,000 works. This is the perfect combination of exciting and original but also highly appropriate material.

However, the RHS encourages licensees to use the Collections as they see fit – the art is an inspiration rather than a rulebook. For example, the recent Hotter range of canvas shoes created two exclusive repeat pattern designs from Lindley Collections illustrations to deliver something unique and evocative, while the Oasis design team re-sketched its chosen images by hand for a series of prints to be used in a new fashion collection.

“Gardening came into its own in pandemic-hit 2020 when RHS gardening product licensees saw a surge in sales, and the health benefits (physical and mental) of gardening were not just interesting insights but news headlines.”

Regularly refreshed style guides add to the choice. One such was the very successful RHS Licensing Geometric Style Guide 2018; this uses Parterre and knot garden styles dating from the 1600s and 1700s to reflect the trend for geometric designs. Another was a style guide for children’s products – building on the charity’s success in outreach for children, families and schools, and in child-friendly events at its gardens and shows.

And yes, there are new audiences, and we constantly monitor home and garden trends. For instance, our supporter base is changing. A younger audience is discovering the benefits of outdoor spaces and gardening. We’ve therefore expanded our product portfolio into products for children, families and younger adults, and children’s products will be a major focus for the RHS in the post-pandemic world. A recent success was an association with the award-winning George brand that produced a fabulous collection of children’s clothing and accessories aimed at one to seven year olds. There’s also been an RHS-inspired series of children’s books from Scholastic UK. 

How can licensing unlock the values of gardening, the outdoors, nature, wellbeing and all that RHS stands for with new generations?

For our gardening products – a major part of our licensed offering – there’s a clear link. And of course, gardening came into its own in pandemic-hit 2020 when RHS gardening product licensees saw a surge in sales, and the health benefits (physical and mental) of gardening were not just interesting insights but news headlines.

But even with homeware, apparel, confectionery and other non-gardening categories we aim to use packaging and POS to inform and educate where we can. We have thousands of botanical artworks available to licensees, many of which inspire product designs. These help to raise awareness of our gardens, flower shows, research, education and the excellent advice and information we can offer on all horticultural matters.

We always try to innovate and lead; this is reflected in our licensed products.

As for new generations, the move into children’s products – which actually started before Covid and lockdown – reflects the changing age of our supporters and, of course, the many initiatives the RHS as a whole has in place for children and schools.

How has the consumer’s relationship with ‘heritage licensing’ changed in the last 12 months? Has lockdown and the pandemic changed the way in which people want to experience art and culture? How does this influence your licensing strategy?

Consumers seem to be looking for products made by hand and closer to home, which we encourage, where feasible, through relationships with craft groups and UK-based partners. The growing public appeal of craft suppliers and companies based in the UK, as well as sustainability – in particular with the younger audience – fits in well with the brand values of the RHS.

Recyclable packaging, less plastic, low-impact manufacturing – these have always been aims of ours, but consumer awareness of environmental issues is now growing, and manufacturers are responding to this.

Another trend has been a huge increase in royalties for products for the home and especially the garden, not to mention more distribution channels opening up as retailers who might not normally look at gardening products or licensed products adjust to meet demand. 

“We won’t ever be complacent, but we do think we are now well positioned to grow the brand even more without compromising its values.”

What categories or licensing partners will be key to you as you build on the RHS portfolio? What will the lifestyle, home, and garden licensing spaces span, and how will you look to tell the story of RHS through these?

We’ve enjoyed enormous success in the ongoing expansion of our category portfolio and this expansion will continue. However, we also hope to strengthen existing product categories and in particular are looking to expand in homeware, children’s products and apparel. Partners with strong ethical and environmental credentials and those that highlight UK craftsmanship will remain a major part of our programme too.

Gardening will always be our core category and we aim to continue to target keen gardeners and would-be gardeners who are looking for quality and inspiring products to support their interest. But gardening too has branched out: luxury garden sheds, premium boots, trellises, indoor pot covers and the very successful RHS Gifts for Gardeners range are all indicators that the RHS is continuing to seize opportunities in both established and new categories.

The programme overall is well established and balanced: it’s making more money for the charity than ever while still reflecting our values and insisting on carefully chosen licensing partners. We won’t ever be complacent, but we do think we are now well positioned to grow the brand even more without compromising its values. 

What can we expect from the RHS in the licensing space in the coming year and beyond, what’s the next step for you guys in the sector?

We’ve announced several new partnerships so far this year (including hand-iced biscuits from Biscuiteers and children’s clothing from George) and more are to come. Some projects that were delayed last year are launching over the next few months. It has been – and still is – a really busy period. We’re expanding our small team and looking for a new Senior Licensing Development Executive and Licensing Development Executive to help generate new business and develop existing licensing partnerships.

The RHS gardens and shows are ready for a strong post-lockdown visitor response. This is an exciting time for us as a licensing team and for the RHS as a leading Heritage organisation.

Rubies invites gothic kids’ book character Amelia Fang into the licensed dress up collection

Rubies is expanding its children’s book character range of dress up costumes with the addition of the popular quirky gothic-inspired publishing IP, Amelia Fang.

Created by author and illustrator Laura Ellen, the Amelia Fang book series is published by Farshore/HarperCollins UK and has sold over 380,000 copies in the UK, as well as translated into 24 languages worldwide. It follows the tale of a little vampire with a big heart as she embarks on adventures on the city of Nocturnia.

The title is favoured by seven to nine year olds, with seven books in the series, filled with gothic tales and creative illustrations. Rubies notes that the character Amelia Fang works well within World Book Day and Halloween ranges.

The costumes themselves will feature Amelia Fang, the lead character, and her signature spooky outfits in a variety of sizes. Rubies will design, market, manufacture and distribute the range in the UK next year.  

The IP is the latest to joins a robust and growing portfolio of character licenses that spans everything from Marvel and DC to the likes of Dennis the Menace and Horrid Henry.

Tracey Devine-Tyley, head of licensing and portfolio EMEA, said: “We understand how important reading is to children as it helps develop their minds and imaginations and we strive to support this through any of the licenses we hold which celebrate reading. Amelia Fang is a fantastic license for us to acquire as it is a beloved book series, with a strong and growing group of fans consisting of both children and parents.”

Laura Ellen Anderson, creator of Amelia Fang, added: “I’m so excited to see Rubies bring the Amelia Fang costume to life. It’s wonderful to know that my fans and readers will be able to easily access this costume which can be worn for events such as World Book Day and Halloween, or just for fun.”

The costumes will be available to order early next year on www.rubiesuk.com. 

Artifacts and the arts effect | ARTiSTORY explores cultural IP licensing’s current burst of energy

With the reopening of cultural and heritage sites and museums across the globe, so too is the cultural IP licensing space seeing a burst of energy, fuelled by increased staffing and a renewed understanding of its importance towards the success of the sector.

Co-founder and managing director of ARTiSTORY, Yizan He, has told Licensing.biz that increased staff across the licensing arms of many global cultural organisations is ‘an excellent sign of the realisation of the value of IP licensing.’

“Many cultural organisations have realised the potential that a licensing programme can achieve for them in terms of revenue stream and engagement with a wider global audience,” Yizan He explained.

“Many have already set up their licensing programmes in recent months, particularly during the pandemic when most museums were closed. On the other hand, cultural organisations are getting a lot more inquiries from brands, retailers, and licensing agencies.

“The cultural licensing sector is undoubtedly growing rapidly.”

ARTiSTORY has witnessed the growth first hand, having seen the business establish a fully global presence in the short few months since it was launched in 2020. The firm’s portfolio now includes the National Palace Museum in Taiwan, while it is close to announcing a new partnership with a major London museum, and making preparations to add a leading American museum and a top performing Chinese IP to the mix in the coming weeks.

With the art and cultural IP space proving to be such a rich ground for licensing right now, we caught up with ARTiSTORY’s Yizan He to learn more about the team’s plans.

Hello Yizan, it’s been a while since we last caught up! How has the ARTiSTORY business and portfolio grown and progressed since then? With cultural sites and museums now reopening, what is the mood in the space like right now?

ARTiSTORY has been growing rapidly since we started our business in 2020. Our portfolio includes the National Palace Museum from Taiwan, we’re close to announcing a leading London museum and we will soon add a leading American museum and a Chinese top IP to our portfolio in the next few weeks. 

Our master license rights with these art and cultural organisations cover all key markets such as the EU/UK, North America and Asia. Our creative teams in Asia and Europe are currently developing the 2022 art and cultural IP licensing trends and themes which will be released in July this year. 

With museums and cultural organisations reopening, many organisations are now adding staff to drive the licensing business, which is an excellent sign as cultural organisations have realised the importance and value of IP licensing.

 

How has the art and culture licensing sector performed over the past year? There have obviously been hardships across the live sector, what impact, if any did this have on the licensing aspect? Did it drive demand further, did it fuel a shift to licensing in any capacity?

Driven by the growing demand for art and cultural IP, the cultural licensing sector is snowballing, which has caught many by surprise. As reported by Licensing International in early May 2021, that art and cultural IP has risen from merely one per cent in 2015 to 18.7 per cent in terms of the retail value of licensed merchandise in China in 2020. Art and cultural IP has become the second most important property type.

There is a visible impact as more and more retailers and consumer brands are embracing art and cultural IP licensing as ways to engage shoppers and improve profit margins. Many companies have tapped into art and cultural IP in recent years from luxury brands such as LVMH to global retailers such as Uniqlo and Zara. That will further inspire more brands and retailers to explore art and cultural IP.

 

What role has ARTiSTORY played in the art and culture/heritage licensing space over this period? What is it that ARTiSTORY brings to the culture licensing sector, and how does this differ from the licensing agencies out there?

ARTiSTORY has a unique business model that sets us apart from licensing agencies. First of all, we secure a multi-year exclusive master license agreement covering a full range of merchandise in our markets, and of course, with a commitment to Minimum Guaranteed Royalties. Secondly, we invest heavily in the annual art and cultural theme and design asset development, an essential component in any cultural licensing program and we own the copyrights of the design assets. We then enter into licensing agreements with consumer brands and retailers directly, and support them with versatile forms of marketing and storytelling such as live stream, short videos, social media campaigns on Tiktok, and immersive store windows and installations.    

As a pioneer and innovator in the cultural licensing sector, ARTiSTORY’s founding members have previously developed some of the most successful licensing programs for the world’s top museums such as the British Museum, the V&A, the MET, Museum of Fine Art, Boston, and National Gallery. We hope to bring our new business model to the cultural licensing sector.

What do museums and galleries gain from working with ARTiSTORY as opposed to other licensing agencies? How do you separate yourselves from the competition in this sector?

There is a wide range of tangible benefits that museums and cultural organisations would benefit from a licensing program.  Firstly, there is immediate and recurrent revenue as ARTiSTORY commits financially with advance payments upon signing the master licensing agreement. On top of the advance payments, there are running royalties that we would share with our museum partners every quarter.  

Most importantly, every licensed product comes with a card that illustrates the artefacts from the museum’s collection where the design inspirations come from.  Additionally, all promotional licensing partnerships across a truly diverse array of industries recognise the collaborating museum, which promote the awareness of the museums. Our licensing programmes have expanded the museums’ reach to a much broader global audience, inspiring them to learn more about the museums.   

What role do you think ARTiSTORY has to play in the future of the art & culture / heritage licensing sector? How are you guys innovating in the sector and helping shape a future for licensing within it?

Our business model has been proven unique and compelling. We will continue to ride on the momentum, beef up our storytelling and marketing capabilities, and expand our licensing program in new markets such as the EU/UK and North America. We aim to become a truly global player.

To stay ahead of the competition, we are already working on various storytelling as an additional dimension to engage more audiences more effectively. For example, our immersive team is working on immersive store window designs, immersive pop-up stores, and installation that our licensees and retailers can leverage for better shopper acquisitions and conversion. We’ve gained an excellent response from our licensees and now offer these immersive components as part of our licensing package.

 

When it comes to licensing, why is this an important sector to get right? What can good licensing do for the heritage or narrative of a cultural brand? Also, when working with brands steeped in history and heritage, what sort of pressure is there to get the licensing tone right first time? 

This is a very good question. The core mission of a museum is about conservation, research, and education. During the development of the licensing themes, artefact selection, and content creation, we work closely with our museum partners so that we can maintain a high level of accuracy in terms of the narratives that we develop while staying sensitive about different cultures and markets. 

We enjoy outstanding support from all our museum partners. For example, the licensing team at National Palace Museum has provided us with their curatorial advice and suggestion of artefacts when we jointly work on the upcoming 2022 themes.  

In the future, we will also be developing art education programs that in one way, extend cultural organisations’ core mission of educating the public and in another, leverage the value of art and culture in key education systems and markets. 

What are some of the most exciting partnerships (your own or others) in the heritage licensing space at the moment? What inspiration do you or can you draw from these?

I am glad that there are more and more inspirational art and cultural IP licensing programs in recent months, such as Spanish fashion retailer Pull & Bear taps into modern and contemporary art as their licensing program with the Tate feature artworks by Kandinsky. 

Uniqlo has already launched many programs with MoMA and recently with the Louvre. In the Far East, National Palace Museum has a wide range of well designed and crafted licensed products. The list goes on…

Is the cultural licensing sector heading in the right direction?

Yes, many cultural organisations have realised the potential that a licensing program can achieve for them in terms of revenue stream and engagement with a wider global audience. Many have already set up their licensing programs in recent months, particularly during the pandemic when most museums were closed. 

On the other hand, cultural organisations are getting a lot more inquiries from brands, retailers and licensing agencies.  The cultural licensing sector is undoubtedly growing rapidly.

And before we let you go, what’s the next step for ARTiSTORY?

ARTiSTORY has assembled a sales team covering various European markets, and sales training is already underway. Our next step is to establish our head office in the US and build a sales network there. It is our strategic goal that we would achieve our coverage on three key markets – the EU/UK, North America, and Asia – making ARTiSTORY a truly global player offering full market coverage to our museum partners as well as our clients.  

Thank you, Yizan. Is there anything you want to leave us with?

Thank you for giving me the opportunity to share with the audience about my company. ARTiSTORY looks forward to contributing more to the cultural licensing sector. 

Sixteen South taps Bulldog Licensing as global agency for new preschool series tackling the big issues of today

The BAFTA-winning children’s television production house, Sixteen South has signed Bulldog Licensing as its global licensing agency for Odo, the new preschool series scheduled to premiere on Channel 5’s Milkshake this summer and KiKA later this year.

Aimed at kids aged three to five, Odo is designed to teach young children to believe in themselves to help combat the rise in anxiety and depression levels in today’s children. Funny, charming and heartfelt, Odo works on multiple levels to provide a humorous experience with important life lessons for kids and parents.

According to the team, the animation ‘lends itself perfectly to a full cross-category programme of licensed products’, as focus will fall on toys and games as well as apparel, accessories, publishing, home, and stationery. Bulldog Licensing has outlined its plans to partner with leading players in the licensing world everywhere.

Believing that there’s absolutely nothing that he can’t do, Odo is the littlest owl at the Forest Camp who is determined to prove that despite his size, he is as capable as all the bigger birds. The series aims to teach young children self-efficacy and to believe in themselves to help combat the troubling rise in anxiety and depression levels in today’s children.

Comedic and warm, with gender neutral appeal, the stories also deal with important themes such as immigration, racism, respect for others, and show kids how to deal with setbacks in a meaningful way while fostering the development of social skills.

Colin Williams, creative director of Sixteen South, said: “We’ve always been big fans of Bulldog and are delighted they are taking Odo under their wing to manage our global consumer products programme. With their outstanding reputation we know that Odo couldn’t be in better hands.

“We have had an amazing response to the series from broadcasters from the US to  Australia, Canada and all across Europe, with strong presales already, and we’re sure that Bulldog will soon have licensees flocking to get on board.”

Rob Corney, group managing director, Bulldog Licensing, said: “We were completely enchanted by Odo – it’s warm-hearted and funny with a really important message. We’re really excited to be working together with such a talented studio as Sixteen South to help it take flight around the world. It’s full of wonderful, endearing characters which we can already imagine enhancing a whole range of consumer product and experiences. Watch Odo fly.”

Odo is a 52 x 7 hand drawn ‘2.5D’ animation produced by Sixteen South and Warsaw-based 2D animation studio Letko with funding provided by the UK government funded Young Audiences Content Fund (YACF), which is managed by the BFI, NI Screen and the Polish Film Institute.

The Exec Producers are Colin Williams for Sixteen South, Jakub Karwowski for Letko, Sebastian Debertin for KiKA and Louise Bucknole for Milkshake! The Educational Consultant is psychologist Dr Natascha N. Crandall, Ph.D.

Heritage Month | Modern history: The Cartoon Museum and the role of museums in a post-pandemic world

There’s no question that the pandemic had a huge and still reverberating impact on the country’s cultural and heritage sector, forcing shut the doors of establishments across the UK, and applying a financial squeeze on an industry largely dependent on footfall and wallets of the nation’s leisure and tourism market.

According to the latest research from Art Fund – having drawn together some 400 responses from museum directors and museum professionals, the most pressing concern for almost all organisations across the country is safe reopening and attracting audiences back. In fact, 85 per cent of directors have expressed concern over the ability to attract visitors upon the continued easing of restrictions.

Among the many to be hit by the pandemic was London’s Cartoon Museum, an institution that shares strong ties not only with the cultural and heritage sector, but the licensing space, too – housing some of the most iconic comics and cartoons to have populated popular culture of the modern era.

Last year, the museum found itself the focus of a fundraising campaign to help keep its doors open – when doors were allowed to reopen, of course – that had ignited the passions of the comic book and cartoon fan communities across the country. The museum is now happy to report that those doors have firmly swung back open, and the museum is already welcoming back visitors from schools and pre-booked groups looking to get their cultural fix this year.

But from the pandemic, suggests the team, a new era for museums, and the cultural and heritage sector overall, could be arising, as organisations are forced to look towards local communities and audiences and less on the tourist trade. 

Here, Licensing.biz continues its look into the heritage sector and catches up with The Cartoon Museum’s Director, Joe Sullivan, to uncover the museum’s learnings through Covid-19 and what the future role of the museum could like in a post-pandemic world.

Hello Joe, it’s good to catch up with you again, and under happier circumstances with the museum now reopened! What has reopening the museum been like for you? What has reaction been like from visitors and public?

It has been wonderful to finally reopen to the public after another enforced lengthy closure during the Winter. During the downtime we worked hard on enhancing the museum to make it even better for our visitors – painting floors and walls, boxing noisy pipes off, hanging comic art in our learning space, revitalizing the shop, and putting up two new exhibitions. Visitors have enjoyed coming back to the site over the past month, with half term particularly busy, and it has been great to chat with people about cartoons again in person.

A really encouraging thing for us is that we have had a lot of first-time visitors. We hope that this continues as we bed into our new home properly (we still haven’t had a complete year open at the new site), and as people start to feel more comfortable leaving the house. Reopening has also been tinged with sadness however – we lost our Front of House Manager, Alison Brown, to COVID-19 in January. She was the heart and soul of the museum for 14 years and we all miss her terribly.

Can you talk us through some of the latest developments for the museum? You’ve mentioned some new exhibitions – can you talk us through these and what reception has been like so far?

 The two new exhibitions have been received fantastically, and I feel like our visitors can see the direction of travel we are taking and are enthused by it. By taking a larger theme – such as protest in the case of V for Vendetta: Behind the Mask – we can connect with visitors in a more personal way. 

The V exhibition not only displays incredible high-quality original art and rarely-seen film designs, it also encourages visitors to reflect on the world of V, how it relates to the world now, and what a subject like protest means to them individually.

We are very lucky with V as David Lloyd, the artist, is a close friend of the museum (he very kindly auctioned an original V page as a fundraising donation to our survival appeal last year). His support through the exhibition has been invaluable, allowing us to really dig into how V was made, and why certain design choices were made.

This focus on people stories and more universal themes crosses over to our In-Focus exhibition, Natasha Natarajan: FML Comics, a display of the work of British-Indian web cartoonist and animator Natasha Natarjan. The first two people through the door on the day we reopened were two older visitors who had travelled all the way from Scotland, one of whom went away grasping a copy of Natasha Natarajan’s FML Comics book. I was delighted to see this!

The book – which is linked to our current In-Focus display – is full of frank, funny, very personal cartoons about Natasha’s experience as a young millennial woman in modern London. The fact that people from a different demographic and part of the UK related so strongly to Natasha’s work really showed the strength of the stories and art we are sharing, and how it can connect to people’s experiences universally.

 You’ve also mentioned the return to learning and engagement work with young people. What does this look like for the museum? What spurred the decision to return to this kind of work through the museum, and is this indicative of a new ‘post-pandemic’ role of museums and their position in the community?

Engagement work is my personal passion, and has been very high on the agenda since I came to the museum. The great thing about cartooning is it has a very easy ‘in’ – anyone can pick up a pencil, and our collection ranges from the finely engraved detail work of Hogarth to the comedic minimum-line doodles of Times cartoonist (and Museum founder) Mel Calman. The point this makes to me is that anyone can pick up a pencil and draw a cartoon.

Alongside restarting our cartooning workshops in an online form (we hope to return to physical workshops in the summer), we have spent the last few months building local partnerships in our local London borough, Westminster. Westminster has one of the highest indices of deprivation in London (the gap between richest and poorest areas) and it is essential that the museum serves and represents all of our local audiences.

We recently started a project with local youth centres called Life Under Lockdown, which works with local young people to draw comic strips telling their personal stories of their lockdown experiences. We will collect these for the future but will also compile them into a comic book to give to participants and libraries, and will hopefully display some of the work either on the museum site or on our website. 

Our team attended a street festival during the May bank holiday, taking cartoon and drawing resources with them for local families to take part in, and we are currently planning a really exciting local offer for the summer.

So, the big question: What does running a museum post-pandemic look like today? How do you think the public’s method of engaging with heritage and history has changed over the course of the pandemic, and what are you guys doing to tap into the new ‘lay of the land’?

Running a museum right now is based on balancing hope against financial pragmatism! The reality is that it will be a slow road back for visitor numbers, especially as foreign tourism will be absent for a while longer, and it isn’t certain that there will not be further lockdowns.

It is important that we are careful with our spending as 70 per cent of our income is through the door, and we have no idea when fluctuations and growth on that front will happen. On the other side is the hope – we want to be open so people can come in, and we have to move forward hoping that all of the doom and gloom lifts!

During the pandemic a lot more audiences went online, and at the times where there haven’t been lockdowns, people are not travelling far to go on outings. We need to ensure local audiences can find us and enjoy themselves, and we need to keep our online offer in mind.

We have had good success with our free downloadable drawing resources and our online workshops have reached a wider audience than we have done in the past, so we will be keeping a part-online approach to our engagement work in the future.

What is the role of a museum in today’s culture?

I believe a museum should form the hub of its community, both in terms of topic (in our case cartoon and comic artists) and locality (for us Westminster, and London). For a long time museums have been unique in that they are considered a trusted source of information. The work by academics over the past few years that has led into the so-called ‘culture war’ have started to challenge that, both for good and bad, as questions are being asked of the truth presented and how truly representative they are of Western Europe in the 21st Century.

I personally think that museums need to continue to be upheld as arbiters of truth, but to do that they need to take that responsibility seriously and ensure they are fully representative of the people, audiences, objects and stories that they champion.

 What’s the next big move for you guys? What does the future have in store for the Cartoon Museum?

Excitingly, we are currently pulling together our exhibitions programme for the second half of 2022, and getting ready to announce our next In-Focus exhibition that starts in August. We are also looking forward to getting schools and events back in the building!

With a slightly wider lens, we are beginning a period of collections work that will audit our current collection to understand exactly what we have, and the stories that it tells. This will feed into new collection policies that inform what we will collect and display, to ensure we can tell as full and representative a story of the cartoon art form in Britain as possible in the future.

Ethical chocolate and toy brand PlayIn Choc secures crowdfunding to scale business to next level

The ethical confectionery brand, PlayIn Choc has beaten its crowdfunding target of £250,000 to scale up its business and build on the solid foundation it has here in the UK and global markets.

The brand has been championed for its message of sustainability while promoting healthier organic treats and natural ingredients through its chocolate product, as well inspiring creativity and engagement with bio-diversity through the kids’ puzzles included in each box.

Launched to the scene in 2018 by the husband and wife team, Maya and Dominic Simler, PlayIn Choc already exports to 30 countries and is listed with 25 distributors, including a recently secured partnership with Ocado.

The team launched a crowdfunding campaign to the CrowdCube platform earlier this year with a target of £250,000 in order to scale up its business. 

“We currently have a range of 19 products which are all plastic-free, organic, vegan certified, and free from 14 allergens. We estimate that the global chocolate with toy market segment is worth $4bn a year, and PlayIn Choc ToyChoc Box is the only plastic free allergen free product in this market,” read a statement posted on the team’s crowdfunding page.

The company has also estimated that the total market size of stockists is around one million, of which 100,000 are in the UK. PlayIn Choc’s strategy going forward to acquire more stockists will be driven by targeted marketing, key new hires, and automating production and packing processes.

The funding secured via the CrowdCube campaign will enable the business to put this plan into action. PlayIn Choc has now secured 136 per cent of its initial target, completing its crowdfunding campaign with £342,000.

Check out the brand here and its successful crowdfunding campaign here.