Tag Archives: Festival of Licensing

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

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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….

Motorhead and Judas Priest slow it down for Rock N’ Roll Colouring books

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Taking a break from the sex, drugs, and rock ‘n’ roll, Motorhead and Judas Priest are slowing things down a little, as the iconic rock bands move into the serenity of the adult colouring book trend.

In a new deal brokered by Global Merchandising Services, the two groups have partnered with Rock N’ Roll Colouring to launch the first, officially endorsed colouring books, featuring iconic artwork from classic albums.

‘Each book allows you to raise the horns in celebration of two of Heavy Metal’s most legendary and important bands, letting your imagination run riot as you create your own personalised versions of your favourite designs,’ read a statement from the firm.

Each book in the series contains renderings of each image, with detailed outlines for fans to unleash their artistic skills using pens, pencils, or paint.

Rock N’ Roll fans was devised and created by two life long rock and heavy metal devotees and colouring book fans.

‘Every effort has gone into making sure these books do justice to the legacy of both Motorhead and Judas Priest, and gives fans another reason to enjoy some of the most beautiful and creative artwork from these bands,’ said the company.

‘Not only that, colouring has proven significant mental health benefits including mindfulness, relaxation, and increased focus, and can be enjoyed by any age group. These two books provide hours of creative and restful activity that combines a love of the music with a love of the art,’ it added.

Both books will be published on November 2 this year and will be available for worldwide shipping.

Motorhead and Judas Priest slow it down for Rock N’ Roll Colouring books

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Taking a break from the sex, drugs, and rock ‘n’ roll, Motorhead and Judas Priest are slowing things down a little, as the iconic rock bands move into the serenity of the adult colouring book trend.

In a new deal brokered by Global Merchandising Services, the two groups have partnered with Rock N’ Roll Colouring to launch the first, officially endorsed colouring books, featuring iconic artwork from classic albums.

‘Each book allows you to raise the horns in celebration of two of Heavy Metal’s most legendary and important bands, letting your imagination run riot as you create your own personalised versions of your favourite designs,’ read a statement from the firm.

Each book in the series contains renderings of each image, with detailed outlines for fans to unleash their artistic skills using pens, pencils, or paint.

Rock N’ Roll fans was devised and created by two life long rock and heavy metal devotees and colouring book fans.

‘Every effort has gone into making sure these books do justice to the legacy of both Motorhead and Judas Priest, and gives fans another reason to enjoy some of the most beautiful and creative artwork from these bands,’ said the company.

‘Not only that, colouring has proven significant mental health benefits including mindfulness, relaxation, and increased focus, and can be enjoyed by any age group. These two books provide hours of creative and restful activity that combines a love of the music with a love of the art,’ it added.

Both books will be published on November 2 this year and will be available for worldwide shipping.

Poetic Brands tunes up new Fender apparel range

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The licensed clothing specialist, Poetic Brands has tuned up a new European deal with the musical instrument manufacturer, Fender, to create a raft of new apparel lines for adults. The partnership arrives off the back of a trend for music properties within the consumer products space over the last few years.

The new range is set to launch this autumn/winter and will be led by nightwear, t-shirts, sweatshirts, and tracksuits. The new signing expands Poetic Brands’ music portfolio which already includes the likes of AC/DC, Def Leppard, Pink Floyd, Woodstock, and MTV.

Established in 1946, Fender has a long history of revolutionising music and culture across all genres, from rock ‘n’ roll to country and western, jazz, and rhythm and blues. The brand name has become a cultural icon that rolls out Fender guitars, basses, and amps played by music lovers the world over.

Elliott Matthews, executive director of Poetic Brands, said: “Having Fender on board adds a new dimension to our music portfolio, with a global guitar brand to join our range of bands and artists. 

“Fender is a leading brand in the music sector and we are looking forward to leaning on its heritage and ethos to create an innovative on-trend collection. Music brands have been increasing in popularity recently, so we’re sure consumers will love this range.”

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

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

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

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

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

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

Richard Pink, MD, Pink Key Licensing


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

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

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

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

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

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

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

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

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

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

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

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

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

Nikki Samuels, CEO, Factory

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Ashley Holman, MD, Riverside Brands

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

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

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

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

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

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

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

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

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

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

Gabrielle Sims, head of licensing, FatFace

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

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

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

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

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

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

Trend Bible CEO Joanna Feeley talks spotting the consumer shift ahead of Festival of Licensing

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Among the many facets promising to keep visitors glued to their screens for the duration of October’s Festival of Licensing this year will be a dedicated channel to spotting the newest and emerging trends in a bid to spy the opportunities in what the future consumer will think, feel and do. It sounds like witchcraft. But it isn’t.

Moreover, it’s the work of Joanna Feeley, the CEO of Trend Bible, the company she founded in 2011 after identifying that the market for predicting the future of life at home was under-served, yet set to grow dramatically. Today, the team specialises in home and interiors, baby and kids, gifts and greetings, and FMCG. Trend Bible also works with global brands in over 35 countries, helping them to understand what their future consumer will look like.

With Festival of Licensing now waving at all of us from our calendars, Licensing.biz catches up with Feeley ahead of her presentation at the month long festival kicking off from October 6th.

Hello Joanna, to kick off with the obvious question – how have consumer needs and behaviour changed during the pandemic? 

The changes have been quite broad, and they vary from category to category. The pandemic has dented demand for certain products and increased it for others. I think it’s important to note – and we’re huge advocates of this – that brands and retailers need to understand the whole person that buys from them. It’s impossible to get a clear picture of that consumer if you only look at the relationship with them and your product. 

We have seen an increase in behaviours we weren’t seeing so much pre-pandemic. For example, a notable interest in heightened hygiene, the rise in demand for crafts, the increase in eating and drinking from home. People have been anxious and worried and that naturally impacts behaviour. 

Surprise events with global implications – like the pandemic – are known as Black Swan events and they can have interesting and unexpected implications. For example, a Danish study showed a 90 per cent decrease in extremely premature births in the month of lockdown compared with the same period during the previous five years. Why? We don’t know for sure, but it’s presumed to be linked to a reduced stress levels from working from home together with a drop in pollution levels. And this is a fascinating trend, because it forces us to look at what this means for mothers and if – or how – we should change the way they are treated medically. 

Our approach as trend forecasters is to pay attention to consumer attitudes as these are often indicators of change long before a new behaviour is exhibited. Often, a consumer’s mindset has already shifted, but it’s difficult or impossible for them to live behaviours that match that mindset. For example, there was a growing awareness of the environmental damage done by landfill, so consumers wanted to recycle more, it just wasn’t that easy to do before governments and local councils gave us the tools to do that.

More recently, we spotted there was a growing desire among office workers – particularly those with families – for more flexible working, but it wasn’t until the pandemic hit and businesses were forced to allow home working, that workers were granted that flexibility. 

Companies like Google and Facebook recognised this many years ago, but the rest of the business community hadn’t caught up. Covid has accelerated that transition. Whether it’s worked and people will want to continue working from home, is yet to be seen, but I do believe most people will want to retain that flexibility and we need to be aware of what that means for the home – functioning as an office – and for the workplace, with many spaces now being transformed to offer a clubhouse style of working.  

 So what are the key trends to have arisen over this period? 

There are so many that we have been mapping trends in terms of three categories:

  • Accelerated trends – things that were already happening but that have now become more prominent or possible, like working from home
  • ‘Elastic’ trends – the behaviours that have changed for now, but we expect them to ping back
  • New trends that the pandemic has been a catalyst for

What innovations have you seen from retailers to piggyback on them? 

So many. And they’ve been so broad and varied. It’s fair to say, that retailers who had already nailed the D2C channel or who pivoted quickly have performed much better. 

We’ve also seen an increase in sample culture from a home and interiors viewpoint. So, consumers are now keen to order tile or paint pot samples online. And some retailers have responded really well to this. 

I think Pret a Manger’s shift to a £20 p/m coffee subscription is really interesting. There’s a widespread move to cashless, cashierless and menuless restaurants, something that’s already very common in China, where you scan QR codes to get a table and view the menu, and then pay online with WeChat. The only human interaction is with the person who brings your food. This will be truly transformative for our service industries.

I was Head of Trends at Tesco 15 years ago, when supermarket shopping and the ability to buy everything under one roof was deemed the next big thing. For 20 years that large-scale retail format had dominated. But now, we’re seeing small independents dominating again – small butchers, coffee vans delivering to the consumer, pop up artisan bakers, and that could be good news for the local high street and the suburbs. 

As a retailer, how do you ensure you spot trends early? 

Most retailers access future trend intelligence from a forecaster like Trend Bible but knowing about trends is pointless if you don’t act, and act in a timely fashion. 

We’re forever reading about retailers who have failed saying that they knew about incoming trends, they just hadn’t seen their relevance and that ultimately led to their demise. We speak to a lot of brands who struggle to activate the trends inside their business and find it difficult to take a trend from being merely interesting information into meaningful change from board level through to the product designers. 

How important is it for retailers to be agile with their responses? 

Agility is important, but it’s really about having a clear idea of how your customers world is going to change and how that’s going to impact what they come to you for. The strategy has to be right and timing is everything. You can go too early with a trend as well as too late. It’s pointless focusing on being agile without having a deep understanding of how your customer is going to shape-shift in the coming months and years. 

What role can licensing, and licensed product, play in all of this?

What we often find when working with people in licensing is there is an assumption that assets can’t be changed to fit with trends. Yes, trends have to be applied more carefully, but they can still be used to update products without upsetting the visual DNA. It’s about being aware of the socio- political environment of the day and how that sits with your consumers.

For example, I was watching an old episode of a pre-school animated series that included an expression of motherhood that I felt was sexist, old fashioned and totally out of step with how I feel as a modern parent. That IP could have changed the story to move with the times, and the context which the brand lived in, without having to change the design or colour of its assets. 

Trends can – at their best – keep a license relevant, and some brand owners excel at this. So, Spider-Man and the Marvel licensing programme, is a fantastic example. They really understand how to use those assets, no matter how old they might be, in a context that feels contemporary and in step. Black Panther felt very timely. For licensing, it’s about being in tune with the social context that exists. It goes back to what I said right at the start – always ask, what is the end consumer ALSO consuming outside of my product to identify who your future consumer will be. 

Why should retailers tune in to your session at Festival of Licensing? 

I would love the audience to leave clear in their minds that they either are confident they have the tools and wherewithal to know what their future consumer will do in the next 12 months, or they do not. Being honest about what you currently know about how your customer will behave in the future is a critical first step. 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Banijay, Sanrio, and Diageo make up final keynotes for Festival of Licensing Live Stage

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Festival of Licensing has revealed the final three keynotes to take its Live Stage – this year sponsored by Crunchyroll – as it welcomes Banijay, Sanrio, and Diageo to the fold. The three firms will take up the European, Asian, and Americas keynotes respectively.

Banijay recently became the world’s largest international content producer and distributor, following its recent acquisition of Endemol Shine Group, Sanrio is a global lifestyle brand best known for it pop icons like Hello Kitty, and Diageo is a powerhouse behind beverage, spirit, and beer brands such as Johnnie Walker, Baileys, Guinness, Captain Morgan, and more.

The three latest additions joins a roster that already boasts the likes of Smiley, Alibaba, and Authentic Brands Group among others.

A month-long virtual celebration of the global licensing industry running from October 6 to 29th, Festival of Licensing incorporates three regional events linked to the world’s biggest markets – Europe, Asia and the Americas – and culminates with the global C-suite and executive-level virtual conference, Licensing Leadership Summit. 

The live presentations will take place as follows: 

  • Europe Keynote – Powered by Brand Licensing Europe on Thursday, 8 October, 9am BST:

The Role of Licensing in Building Global Brands
Speakers: Jane Smith, Group Director Brand Licensing and Gaming, Banijay/Endemol Shine

  • Asia Keynote – Powered by Licensing Expo China and Licensing Expo Japan on Thursday, 15thOctober, 2pm CST 

Small Gift, Big Smile: Evolving a Global Heritage Brand While Maintaining Core Values
Speaker: Linh Forse, Senior Director, Sales and Business Development, Sanrio Inc.

  • Americas Keynote – Powered by Licensing Expo on Thursday, 22ndOctober, 9am PST 

How Diageo Leverages Licensing to Fuel Growth in an Ever-changing Marketplace 

Speakers: Declan Hassett, Senior Licensing Manager, Diageo, and Shane Grogan, Senior Licensing Manager, Diageo

“Banijay, Sanrio and Diageo are huge brands and home to some of the world’s most creative and successful licensing programmes, which have – unsurprisingly – captured the hearts and loyalty of their fans and consumers. We are delighted to have them join us on the Festival of Licensing Live Stage next month,” said Anna Knight, vice president of licensing, Informa Markets.  

“Crunchyroll has been the world’s best home for anime for over 10 years and is also an established licensor and distributor worldwide, so it made perfect sense for us to partner with Festival of Licensing as the Live Stage sponsor and we’re really looking forward to enjoying the programme, along with thousands of other visitors across Europe, Asia and the Americas,” added Waell Oueslati, director of acquisitions and licensing at Crunchyroll SAS (EMEA).

Meanwhile, ViacomCBS Consumer Products, which is sponsoring the Festival of Licensing Community & Wellbeing Programme, has also added fresh details to its well-being workshop content, which is available to view, download and start grooving to from Tuesday, 6 October at 7am BST.

Community & Wellbeing Programme:

  • GET UP AND MOVE WITH NICK JR

Take a break from the day and invite your kids to join as your favourite Nick Jr. friends guide you through family friendly dance moves, yoga poses and stretching exercises.

  • BIKINI BOTTOM YOGA

Take a trip to Bikini Bottom for a SpongeBob-themed yoga class. Hosted by yoga enthusiast Adanna Paul, viewers will experience a calming yoga practice, set to tropical music and ocean sounds, providing a healthy break to stretch and relax.

  • RETRO MTV WORKOUT

Get up and move in between business sessions with fitness influencer Sydney Cummings, who will lead viewers through an MTV-themed workout. Don’t worry about skill level, there are options and modifications for everyone! 

Festival of Licensing is organised and produced by the Global Licensing Group at Informa Markets.

Visitors can register for free at www.festivaloflicensing.com. 

Bing goes big in the Benelux as Acamar Films extends broadcast and licensing partnerships

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Bing is becoming rather big in the Benelux region thanks to a raft of new licensing partnerships that follow the news that Acamar Films has landed a live stage production of the popular pre-school IP in the Netherlands and Belgium for the first time.

Detailed just this week, the hit pre-school series will now air on the region’s major broadcaster Ketnet, where the newest series of Bing – series four – will premiere in the coming months. The 26 episode will be in Flemish for local audiences. In the Netherlands, all 104 episodes of Bing series one to four are already available on NPO Zappelin.

Meanwhile, thanks to Acamar Films and its Benelux agent, License Connections, Bing is currently enjoying rapid growth and momentum in the region. Following the success of the core toy launch in AW 2019, Bing’s homeware, publishing, and toy and games ancillary categories have expanded with new and extended licensing deals.

New partners for the property include, John, Big Balloon and Mepal, with John’s toy range including Bing playing balls due to launch SS 2021 and Big Balloon launching Bing magazines in Q4 2020. Mepal is the number one brand and market leader in Benelux for melamine lunchboxes and drinking cups and will launch the Bing collection in AW 2020.

 Meanwhile, existing partner TM Essentials, with its number one brand Totum, has extended its current Bing range with new wooden toys, puzzles and car accessories launching AW 2020.

These deals are in addition to current partners Vadobag for bags and Aymax for bedding who have been on board since the beginning of the Bing licensing programme in the Benelux region.

Spectron, the local distributor for Golden Bear, has increased its listings to include Belgium following the success of the AW 2019 and SS 2020 launches in the Netherlands, where all toy products sold out within a few weeks. Spectron will be TV advertising to support the AW 2020 range.

John Boeyen, owner and managing director, Spectron, said: “For us, Bing is the fastest growing pre-school brand in the Benelux region. Our toy range was a huge hit in the Netherlands and we are excited to be bringing them to Bingsters in Belgium this autumn, where we are sure they will prove just as popular.”

Daphne Kellerman, founder of License Connection, added: “We are thrilled with the growing success of Bing in Benelux. Bing has really established itself in our local market and has been embraced by both retailers and consumers. We look forward to working very closely with the Acamar team and our local licensees over the coming months, with a particular interest to develop Health & Beauty, Electronic Learning and Wheeled products.”

Acamar Films will be exhibiting, with a virtual Bing booth, at the Festival of Licensing during the European-focused week, 6-8 October 2020. Search for “Acamar Films” or “Bing” in the exhibitor directory.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Any food for thought to leave us all with?

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