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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

 

Glue Creative Thinking: “There’s always been room for a design-led brand in the pre-school space”

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Glue Creative Thinking refers to itself as a ‘David sized team working with a portfolio of Goliaths’ in its role as brand extension and licensing agency that has seen it not only carve out projects for the likes of BBC Studios’ own London Fashion Week activity, and managing MTV’s Music Meets Fashion competition, but help bring the likes of The Natural History Museum or Tatty Devine into the homeware, fashion, stationery, and accessories sectors in just a few short years.

The outfit, which started out under the guidance of its founder and director Carla Bowden six years ago, recently made the industry headlines for its latest partnership with the fledgling children’s brand Lemon Ribbon and its plans to build out the branding and consumer product programme across the UK’s children’s sector.

Licensing.biz catches up with the team at Glue Creative Thinking to explore the potential for the lifestyle brand, the company’s successes in the licensing business, and what the future holds for the space from here on out.

Hello team! To start, can you tell us about Glue Creative Thinking? Who’s in the team, how long have you guys been in the licensing business, and what does Glue Creative bring to the licensing space?

Glue Creative Thinking is a brand collaborations and licensing agency built of a team of creative yet commercially aware individuals. Carla Bowden, founder and director, started the go-to agency six years ago after 20 years of experience of licensing, fashion and retail with Blu-chip names such as Disney, Boots and Habitat. She sourced; Jess Brown, account director, due to her experience and knowledge within the licensing and buying arenas from her time at Nickelodeon, Warner Bros and Disney, Saskia Anderson Harper, project and account manager, for her fashion knowledge, and Martin Williamson, designer and office manager to ensure the team is well equipped to deliver above expectations.

With a clear understanding of entertainment, fashion and licensing industries, the team can bring them all together momentously with ease.

Can you talk us through the Glue Creative Thinking portfolio? Who are you guys working with and what makes a brand/client a perfect fit for you?

We’ve worked on some incredible projects with globally influential entertainment names that we’re really proud of, including; launching BBC Studio’s #SustainableMe Halo activity at London Fashion Week and mapping out the brand collaborations and licensing strategy to follow. Most recently we’re managing MTV’s ‘Music Meets Fashion Competition’ with ViacomCBS; a global student competition in collaboration with the British Fashion Council, River Island and designer, ICEBERG.

Through our licensing arm, we’ve brought iconic names such as The Natural History Museum, Tatty Devine and Barbara Hulanicki (the founder of Biba) into the world of Homeware, Fashion, Stationery and Accessories.

We are a David sized team that works as an extension to these Goliath names, helping them weave the market and innovatively adapt to propel their message forward.

 Focusing on the recent announcement around your plans for the Lemon Ribbon brand, what attracted you guys to the children’s lifestyle space? What are your plans for the brand? 

We first discovered the Lemon Ribbon brand about three years ago and have been actively talking to the team for about two years. As soon as we saw the brand the whole team fell in love with it. We were instantly drawn to the design aesthetic with its playfully bright and bold colour palette and the fun and engaging characters.

We have worked with the team at Lemon Ribbon Studio to build a three-year strategy to kick start the licensing journey for the brand here in the UK. Initially we are planning to launch with brands collaborations across lifestyle categories including Apparel, Homewares, Stationery and Gifting, and we will look to complement this with a master toy licensee. From there we will be building a core licensing programme across all categories as we move into years two and three.

As the brand continues to evolve there will also be animation by Cloth Cat Animation coming through as part of the new content pipeline and as this develops, we will incorporate this into the brand’s consumer product strategy.

Why is now the right time to be developing the Lemon Ribbon licensing programme? Do you think ‘lockdown life’ has underscored the value in the children’s market/lifestyle space?

Even before the Covid-19 pandemic we felt there was room for a new design-led brand in the pre-school market, one like Lemon Ribbon, which could resonate with children and parents alike and the lockdown has definitely amplified this.

Lemon Ribbon has the great ability to engage and inspire families. Now more than ever we appreciate how important it is to enrich pre-schoolers minds and this is supported by the science which tells us 90 per cent of a child’s brain development happens before the age of five. Through their refreshing, inclusive and joyous characters Lemon Ribbon will captivate children’s imaginations and ultimately, we want to bring these characters to life through the range of consumer products we are aspiring to create through a program of brand collaborations and licensees.

The team at Lemon Ribbon have already embraced the principle of play led educational content in their current partnership with ‘Imagine That Publishing’ who have produced 10 books utilising their characters and unique design aesthetic. However, we are now actively looking to build on this, and we are starting the process of talking with new publishing partners.

How has business been for Glue Creative Thinking over the past few months? How has the current situation influenced or impacted upon the licensing strategies you look at?

Fortunately for Glue, we’ve always been a remote, global team so there wasn’t much of an adjustment period when lockdowns occurred and due to our knowledge and size, we were able to act fast on the changing needs of our clients and their consumers.

We’ve been keeping an eye on the market; on which industries and brands are leaving this period stronger than before as well as which trends and innovations are working in this elevation of digital importance.

What do you think the future of licensing will look like as we emerge from this pandemic?

We’re incredibly optimistic for the future of the licensing industry and how we, as an industry, can provide consumers with what they’re looking for.

Working with influential brands we look to bring nostalgia to the public with innovative and engaging experiences, both physical and digital, especially now when igniting memorable connection is more important than ever.

The landscape is changing, and we’re excited for the new opportunities that digital provides.  We’re especially supportive of the growing desire for sustainability to be at the forefront of the conversation and how the two can support one another’s growth.

 What’s the next big step for you guys?

We’re here to support our clients through this next phase, helping them meet targets and reach consumers authentically, whatever the future may bring.

We’re excited to bring Lemon Ribbon to the wider UK market and are actively looking for partners. The third instalment of the ‘Music Meets Fashion Competition’ launches at London Fashion Week this September, we’ll be releasing some exciting updates, so keep your eyes peeled for that! We’ve also been actively looking ahead to 2021, working on a few different proposals for the gaming and TV worlds; we’ve been, gratefully, very busy!

 

Reemsborko’s Max Arguile: “The anime investment bubble shows no sign of bursting”

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With a portfolio spanning some of the most iconic IP in pop culture, including Bill and Ted, Dragon Ball Z and and extended library of anime properties now starting to gather pace here in the UK, Max Arguile, founder of the licensing agency Reemsborko is riding on the crest of a wave that shows no sign of ebbing any time soon.

Much like the Big Bang, the pop culture explosion seems only to be expanding further and further into even the most distant corners, helping the kind of properties and fandom that was once deemed ‘underground’ pitch new flags in the mainstream channel, and finding new ways to engage audiences the world over.

While lockdown has not come without its challenges for the pop culture space, and for Arguile’s own Reemsborko business alike, it’s with a sense of optimism that the pop culture specialist takes his position at the front of that charge, and the wealth of new developments he has managed to forge, even in the face of the last few months.

Licensing.biz catches up with Arguile to talk about the latest projects for Reemsborko, the unerring passion for pop culture, and where business is heading from here on out.

Hi Max, to kick us off, how has business been for Reemsborko over the last few months?

It was pretty mixed under lockdown. Three deals fell apart in early on and it was tough but I still managed to get a dozen contracts signed, mostly new business but a couple of renewals.

What sort of impact do you think the lockdown has had on the pop culture/anime licensing and merchandising business?

Consistent with all industries, it has been horrific for those companies that have gone bankrupt and for those that have had to down-size. I have been working from home since early 2018 so no real change for me but everyone has had to adapt to survive. And coming out of lockdown a big impact for the companies that are still trading is the disruption to production timelines and therefore a delay for new business.

The numbers of people streaming content over the lockdown has surged – a good share of which is anime content… Meanwhile, Netflix continues to bulk out its own anime library – how do you think this may impact the merchandising opportunities?

Whatever people love represents a merchandising opportunity. Unsurprisingly Netflix did phenomenally well with a captive audience and other streamers must have done OK but everything has a cost.

Families facing increased streaming bills will have been glad of not only the BBC but also free channels like POP, which apparently enjoyed record viewing figures. For everyone still undecided, yes, Dragon Ball is still the number one boys show on POP with more content on the way.

What lasting impact do you think recent events will have on licensing? How well has the pop culture scene adapted to the changes, and what do you think this will mean for its licensing?

Recently it was Comic-Con From Home – the online version of a crucial pop-culture event. I’ve seen some good presentations done with flair and imagination (Factory Entertainment and Super7 take a bow), and others that just looked like giant Zoom meetings and so I didn’t even bother.

E-commerce has leaped forward by about five years since March, and as a trader, if you don’t have a vibrant route to market online then it’s going to be tougher from now on. Fortunately for Reemsborko, the fans of the licenses I sign don’t usually expect to find the corresponding merchandise in bricks and mortar, you know? The fans just wouldn’t think to look there – the first place they will go is online hence the licensees I have that do online selling in a meaningful way actually did OK in Q2.

The Reemsborko portfolio is now looking very strong. Can you talk us through some of the exciting developments for you over the last few months/first half of 2020?

The portfolio is decent but frankly there isn’t enough in there. We’re not resting yet. I’m looking for more animation properties, and also video games – anything that is cool and interesting, rather than simply a cashcow (although I’m not against those).

Hatsune Miku has been extremely strong in 2020 firstly at the level of interest and secondly now in the market place. The first Wild Bangarang range launched just last weekend – online only – they are very happy with the sales and consider this to be a signing that will grow, especially once the fans start discussing their purchases. Not only is the fanbase super-engaged but we have influencers on board that will wear and show the product via their social media channels – free advertising, directly to the fans never hurts. Likewise, Dragon Ball also continues to work. Junji Ito hasn’t really started yet in Europe (although the t-shirt range will hit retail in Australia by Q4) and there is a lot to come on both Heathen and Black Hammer.

Heathen should start filming in January – they have cast the lead so that is pretty exciting, and we are in the midst of approving a massive apparel range for Black Hammer.

What have been some of the key partnerships you’ve established for 2020 so far?

I’m very happy to now be working with some major talent in the comics industry. Dark Horse have already committed to pushing new Black Hammer products via their Twitter account and Vault Comics are really punching above their weight as a publisher. Aside from Heathen, they have a range of titles, one of which – Vagrant Queen – was made into a TV series, showing recently on Syfy. Vault are fully open to maximising on their whole catalogue – so if anyone is interested in original IP to develop as live action or animation, please get in touch.

You’ve recently partnered with TMS to bring Lupin the Third into the portfolio. What sort of plans have you got for the property in the European market? What is the strength of the brand here in Europe?

Lupin is a well loved classic animé – I aim to start with apparel and collectibles and the new feature length CGI film should be released this year so I’m hopeful of also capitalising on the halo effect that will have

It’s a topic we’ve discussed many times before, but always worth highlighting – what do you make of the current strength of the pop culture scene across Europe? How has the demand for animé ‘swag’ in Europe grown? 

Pop culture is just getting bigger in all territories. What was traditionally underground is becoming mainstream and, as the saying goes, the geek shall inherit the earth.

Animé is only getting started in the UK outside of specialty – we have a long, long way to go catch up with Europe and North America. Furthermore, the animé investment bubble shows no sign of bursting – the streaming platforms continue to commission new content which just increases the size of the total offering.

Conventions won’t be happening so there will be no physical meeting for a while but communication never stops. The fans are fully aware of new developments, and new content almost before they are announced – it’s the job of people like me to ensure that they also know about new products too.

The fans should have the swag so it is our job to make the good stuff visible to not just the fans but also the gift givers. We have our work cut out but the future is bright.

What’s the next big step for Reemsborko as the world wakes up from the pandemic lockdown?

Before Matrix 4, Cyberpunk 2077, John Wick 4 and the new SpongeBob movie, remember that the renaissance of Keanu Reeves starts in earnest when Bill and Ted Face The Music reaches fans worldwide in September.

For many years licensees have enjoyed a steady pace of success with the merchandise from the first two Bill and Ted films – Bill and Ted’s Excellent Adventure and Bill and Ted’s Bogus Journey. A healthy dose of Bill and Ted is something we could all use right now

Anything you’d like to add?

Be excellent to each other!

Games Workshop sees £269m revenue in ‘best financial year in its history’

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Games Workshop is celebrating what it has hailed ‘the best financial year in the company’s history,’ having reported a revenue of £269.7 million for the 12 months to May 31st 2020. That’s an increase of over £10 million on the £256.6 million it totalled for the same period in 2019.

The miniatures manufacturer and name behind the globally popular Warhammer franchise also saw pre-tax profits grow from £81.3 million to £89.4 million over the financial year.

Commenting on the results, chief executive officer, Kevin Roundtree, said: “An amazing set of results – the best year in Games Workshop’s history, so far.

“You can once again see from these results that our business and the Warhammer hobby are in good shape. We look forward to the year ahead and will face any challenges head on and learn from our mistakes.”

Headquartered in Nottingham, Games Workshop’s business had been closed for more than a month at the height of the UK’s lockdown measures, including its high street retail outlets.

However, a ‘particularly strong’ appetite for the latest Warhammer launch and an around 40 per cent jump in user numbers on the Warhammer website to over 8 million appears to have helped the miniatures company maintain its momentum.

Games Workshop’s Roundtree added: “We thank our staff and customers and other stakeholders for their continued support during these uncertain times.”

 

“There’s opportunity in the chaos” – FanGirl Consulting’s Anita Castellar talks pop culture licensing

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While the world’s lockdown over the past few months will go down in history as a period of inertia for businesses worldwide, the pop culture merchandising space could be about to experience a further boom, as the industry ‘begins to spy opportunities within the chaos,’ to maximise on a newly engaged audience of fans created via the pandemic standstill.

While it’s true that the scene has found itself hitting the pause button along with the rest of the world over the course of the spring, with the temporary closure of retailers in the space hampering sales, a rising demand in pop culture merchandise could now be expected as a knock-on effect of audiences finding new properties to engage with via SVOD platforms during the season of staying home to stave off the spread of the coronavirus.

It’s according to Anita Castellar, founder and the face of FanGirl Consulting, a specialist in brand development and licensing within the pop culture space, that ‘opportunities are now starting to present themselves from within the chaos’ of the world’s reaction to the pandemic.

Streaming services like Netflix and Disney+ have played a major role in facilitating new engagement in content and fuelling the pop culture scene, while the demand for retro properties and the popularity of pockets of the pop culture space such as anime – both areas that were experience growth before the appearance of Covid-19 – has only gained momentum over recent months.

“A lot of the retro properties are coming back, there were a lot of these reunions that were happening during the lockdown with virtual reunions for Friends, The Office and so on, but then there’s also – in the vein that anime is becoming more and more mainstream in general – a ton of anime that is being watched and rediscovered nowadays,” Castellar told Licensing.biz.

“As far as pop culture and content, whether it’s older or newer – and Disney+ has helped a lot with Mandalorian which is on fire for them – there’s a lot of content being delivered which is really helping the cause. The Trolls movie debut on VOD was a great idea and I think it shows that people are willing to experiment now a little bit, they’ve seen that if you’re willing to toss something in to the fire, it might actually work.”

Couple the forced evolution of the licensing and entertainment industry at the hands of the pandemic and its restrictions with the light that has been shone on the topic of diversity, it’s been anything but a quiet period for the business.

“The Black Lives Matter movement is one that has been in movement for the last ten years, but people are finally waking up to it, and it is really good that people are now becoming conscientious,” said Castellar. “People are becoming conscientious of who their licensees are, who their vendor base is if they’re a retailer, and there’s more awareness of the companies that are out there.

“There’s a black-owned company called Saturday AM which published Manga – diverse Manga – which is finally getting recognition, so it’s really good that the world is opening up to companies that before this, many people didn’t know existed. We just have to make sure that this doesn’t die off. You have to make sure you are conscientiously pushing that forward.”

With a background in product development for toys with Disney Theme Parks, followed by her role with Hasbro as the global brand manager for the Star Wars master toy line, Castellar has a deep affinity with the pop culture toy space. Her latest client signing – Panda Mony Toys – falls well within that region, presenting its retro-style Alter Nation action figure toy line.

Under the new partnership, Castellar and the FanGirl Consulting team will work to promote and market the Alter Nation name as it looks to take on the toy industry.

“They want to have their own voice, so we are trying to curate that in the framework of a very traditional toy industry,” said Castellar. “We have to balance off being the rebels. We can’t piss everybody off then expect them to be our friends and buy our products, so we’re trying to balance that off.”

Alter Nation comes with its own series of webisodes, animated in a retro style that will speak to an audience of nostalgia-chasers, while presenting a wholly unique, new IP within the toy space. Already the team has been in conversation with broadcasters to develop the webisodes into an animated series for TV or SVOD.

What’s clear is that Castellar and the FanGirl Consulting unit is now looking at how to start bringing new approaches and ideas to the branding, merchandising, and licensing business, a message that she often likes to promote through her FanGirl Friday social media platform, that, over the course of lockdown, has evolved into a live streaming event each Friday via Instagram.

“I wanted to keep in touch in a way that wasn’t sales-y but showcased the knowledge that we have in the company. And just have some fun,” she said. “Fangirl Friday was something I posted 10 to 15 years ago on social media, it became part of my personal brand. It’s fun, and there’s a business piece behind it as well, and I wanted a platform that showcased talent, information, networking and it’s an easy way to stream all of that.

“I think a lot of us will have to shift that way; it won’t go away. The community piece and connection, we all know and feel that very keenly – a virtual event won’t replace a sense of community when you’re face to face with people you work with.”

 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

 

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

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

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

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

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

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

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

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

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

 

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

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

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

What is the best part of your job? 

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

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

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

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

 

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

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

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

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

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

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

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

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

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

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

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

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

Brand Licensing Europe 2020 to be all-virtual event called Festival of Licensing

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Brand Licensing Europe will not be taking place in its physical form this year, but has transitioned to an all-virtual, four-week long global event called Festival of Licensing.

Running from October 6th to 29th this year, the large scale virtual gathering promises to be ‘the most inclusive global licensing event to date,’ and a ‘never-before-seen celebration of the business of brand licensing,’ that will be held in partnership with the industry trade association Licensing International.

Festival of Licensing builds off of the momentum of the Global Licensing Group’s Licensing Week Virtual event which took place in June this year in place of the Las Vegas Licensing Expo. The Festival of Licensing will comprise of four regionally tailored events in key licensing territories.

Week one will run 6th to 8th of October with its focus on the European market, powered by Brand Licensing Europe. Week two will be Asia focused running from 14th to 15th October and powered by Licensing Expo China and Licensing Expo Japan. Week three will be powered by Licensing Expo and will place its focus on the North America and Latin America markets, running from October 20th to 22nd. The fourth week will be a Global C-suite virtual conference, powered by the Licensing Leadership Summit and will be held on October 28th to 29th.

  • Week 1: 6-8 October – Europe, powered by Brand Licensing Europe
  • Week 2: 14-15 October – Asia, powered by Licensing Expo China and Licensing Expo Japan
  • Week 3: 20-22 October – North America and Latin America, powered by Licensing Expo
  • Week 4: 28-29 October – Global C-suite virtual conference – Licensing Leadership Summit

The first three events will be time-zoned around the respective territories they serve and deliver visitors and exhibitors the chance for IP discovery with exclusive brand and property showcases from up to 200 exhibitors and the virtual take on the annual License This! and Pitch the Brands competition finals.

Content wise, Festival of Licensing will host live keynote headliners from the world’s most influential brands that address the most pressing topics of the current and changing business environment, more than 100 hours of live and on-demand, territory and category specific content to guide businesses through the new consumer landscape, and a retailer only space with exclusive content and expert Q&A sessions.

While it won’t entertain the usual Hand and Flower networking sessions, the virtual event will offer ‘thousands of opportunities to meet, do business and strike deals’ through the Festival Matchmaking Service, enabling both pre-planned online video meetings and impromptu exhibitor booth drop ins.

Ticking the Experiences box, while the planned theme of fashion will be postponed until Brand Licensing Europe comes back in its physical form next year, the Festival will host Fully Licensed! a programme of special live daily evening entertainment and experiences in each region. It will also host Community & Wellbeing, a celebration of the global licensing industry, a wide range of career/business advice and mentoring, an industry fundraiser and wellbeing workshops focused on our physical, nutritional, creative, psychological and social needs.

The festival will conclude with Licensing Leadership Summit taking place 28th to 29th October. Originally scheduled as an in-person, senior-level, global gathering of the industry’s C-Suite and thought-leaders from brands, agents, manufacturing and retail, the new virtual offering will draw on key learnings from the previous three weeks and future-looking topics that will facilitate debate and shape the future of the global licensing industry.

Informa Markets’ Global Licensing Group Vice President, Anna Knight, said: “We are incredibly excited to announce Festival of Licensing and proud of the opportunities and experiences it offers to the global licensing industry. Although the decision to transition Brand Licensing Europe to an all-virtual event was a difficult one and we will miss seeing everyone at ExCeL this year, I’m proud that we have a comprehensive offering in its place and look forward to the European event kicking off Festival of Licensing.

“We have had great feedback from June’s Licensing Week Virtual, so we know that there is huge potential and appetite for industry connection during this challenging time when meeting face-to-face is difficult. Our partners are telling us that driving domestic and international connections, discovering new IP and brands and learning how to navigate the new consumer landscape are paramount to the health of forward-planning for the business of brand licensing, and Festival of Licensing will support all of these needs.

“We also want Festival of Licensing to offer amazing experiences for everyone who joins us. One of the joys of virtual is that it can make the previously impossible possible, and we plan to use the power of the platform to fuel the imagination, delight and inspire in a fitting celebration of this industry and the people within it.”

Maura Regan, President, Licensing International, added: “This global virtual event is an exciting platform to provide our members and the broader industry with the connections and tools to continue to move their business forward. Our industry is truly global, and this event promises to bring us all together (while apart) designed expressly to engage and facilitate smart business in real time, regardless of where in the world you may be.”

Brands who are interested in exhibiting or sponsorship opportunities should visit www.festivaloflicensing.com

 

 

Online shopping habits could be here to stay, says new research from DS Smith

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The pandemic has accelerated consumers’ move to online shopping, with new research into consumer behaviour indicating that the majority of Brits now plan to stick to their lockdown online buying habits from here on out.

According to a survey commissioned by DS Smith, the London-based packaging specialist, retailers have seen online sales increase dramatically, with 61 per cent of Brits admitting to shopping more online during Covid19. The unsurprising increase in ecommerce is expected to add £5.3bn to UK ecommerce sales in 2020, bringing the total to £78.9bn.

The same survey goes on to reveal that 89 per cent of British shoppers say they will continue to shop online at the same level, or even more, post lockdown. 93 per cent of Brits now feel confident about buying items online.

Groceries has seen the biggest increase, with 39 per cent of British shoppers reporting an increase in online shopping. Lockdown also saw 29 per cent of Brits increase their online shopping for home and garden products – contributing to the 41 per cent of Brits who received a home, garden, or DIY related product since the Covid-19 crisis.

With lockdown easing, DS Smith’s research indicates that many of these new shopping trends will now be here to stay. More than half of Brits are planning to buy groceries (60 per cent), hygiene products (51 per cent), and home and garden products (54 per cent) online at the same rate or higher in the coming six months.

On top of this, almost one third of Brits said they have signed up to a new shopping website that they hadn’t used before lockdown, while spending on meal kits and grocery delivery boxes soared by 114 per cent after people were told to stay home.

Stefano Rossi, packaging CEO at DS Smith, said: “There has been a seismic shift in the way consumers are shopping and we’ve been using our expertise to support businesses of all sizes with the rapid growth of ecommerce so they can survive and thrive through this uncertain time.

“What’s clear is that as lockdown eases further, these trends aren’t likely to fall away. Consumers have found new confidence and convenience in the way they shop, buying a whole range of items online – everything from the family food shop, to toiletries and home and garden products.

“If companies are not already transforming their business to meet this new age of ecommerce, they risk being left behind.”

The survey has gone on to detail the latest statistics around greener packaging, suggesting that green recovery and building back better is becoming a global priority, while sustainability is an increasing concern for Brits post-lockdown. It indicates that 24 per cent of shoppers are more likely to buy online if items are delivered with less packaging or more sustainable packaging, while 21 per cent are more likely to buy online if their products arrive in more recyclable packaging.

Rossi added: “The research shows that greener packaging is a real concern for shoppers and as we help our customers make a green recovery a practical reality and priority through simple measures like adopting sustainable packaging. We’re keen to help brands and businesses navigate this path and work with them so they can benefit from sustainable packaging solutions.”

 

Intellivsion CEO joins Comic-Con@Home panel to talk the future of family gaming

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Intellivision CEO, Tommy Tallarico will be taking centre stage at this year’s San Diego Comic-Con@Home event, alongside a cast of experts in the technology and family gaming space, to discuss just how emerging new tech will shape the future of entertainment.

Intellivision is recognised as a pioneer in the videogaming space, and was one of the first consoles to bring sports licensing into the video gaming arena when it struck up its first US-centric deals with the likes of Major League Baseball in the 1980s. Since then, video games have become an influential part of culture, creativity and connection across the decades.

Tallarico will be joined by the co-founder and CEO of Resolution Games, Tommy Palm, and the tech-entertainment expert and founder of Collabsco, Valerie Vacante for a discussion on how creators are designing new experiences across various platforms to shape the future of family gaming.

Called Transforming Together Time: Family Gaming and the Future of Play, the panel session will take place on Thursday, July 23. The panel will discuss the history and future of gaming, from the console wars, memorable mobile gaming moments and gamifying the world with augmented reality, to taking off into new immersive worlds through VR, voice, and beyond.

According to the latest Verizon research the global gaming market is booming, with 3 billion gamers estimated by 2023. Verizon recently reported a 75 per cent increase in gaming traffic, and according to a recent study by Hasbro, 96 per cent of families playing games feel closer.

“With all of the family togetherness during lockdown, it comes as no surprise that parents are looking for more ways to keep their families engaged and entertained from within the home. We are seeing exponential growth across VR, AR, Voice and Interactive Gaming Market in addition to PC, mobile and console platforms,” said Valerie Vacante, director of strategy at LiveArea and founder of Collabsco.

“Families are spending more time gaming together in new ways than ever before, the near future of gaming is multigenerational, collaborative and immersive.”

Transforming Together Time: Family Gaming and the Future of Play will feature real world examples behind some of the most beloved family gaming experiences and latest announcements. Find out more about the exciting work from Resolution Games, Intellivision Entertainment and Collabsco’s collaborators Virsix Games, Firebolt Games, Rocket Impact and Pressure Games among others.

“Comic-Con is one of the most significant cultural events on the planet. And, VR is quickly emerging to be the ultimate platform where core gamers, Sci-fi and fantasy fanatics, and others can go to immerse themselves in their favourite worlds. Fans can also engage with their favourite characters and games like never before by actually being IN the experience. Seeing these two come together is an exciting sign for what’s to come,” – Tommy Palm, co-founder and CEO at Resolution Games.

“It’s always a huge honour to be a part of Val’s panels. She always brings in the biggest and brightest people at the top of their industries and her commitment to family and fun is boundless.”  – Tommy Tallarico, CEO, Intellivision Entertainment