Thank you very much!

Oh gosh, not at all; I think that’s par for the course! But I was going to ask: if you had to pitch Batwheels to the uninitiated, how would you describe it?
Basically, if you took Gotham and Batman, and took all the villains down to a schoolyard level, how would it look? So Batwheels is about how Batman’s vehicles are helping him police Gotham with a bunch of naughty school bullies running around… Batman doesn’t realise that his vehicles are like kids helping him out at a schoolyard level. And visually, it’s what you’d get if you took Fast and Furious and Batman and smashed them together. That’s the execution of Batwheels.

That’s a great summary! Now, I suppose the question people have is: what made your team look at Batman, The Dark Knight, and think “Ah! Well, preschoolers – naturally!”
I don’t know what the original thinking was from Warner Bros., but when I started, it was a bridge series… We wanted to bring it back into preschool a bit more because we realised there’s this untapped potential – because around 33% of animation is for younger audiences. And I was looking at the amazing catalogue and relationship Warner Bros. has with DC, and wondering if there was a way of bringing the adult-rated Dark Knight down to a level where everybody can enjoy it…

So that’s what the task was for me and Michael Stern, who’s the co-creator and writer. He and his writing team did a brilliant job! When I got introduced to the project, he’d written the first four pilot scripts. And what I loved about them was that he wasn’t talking down to the audience… He wasn’t talking down to the kids and he wasn’t talking down to the parents. And two words really came out of the scripts for me: legitimacy and fun.

Legitimacy and fun?
Right. I sort of extrapolated that through all of the design process, the sound design – everything… Because we didn’t need to try and be cool: we’re already in Gotham and we already have Batman – which is freaking cool! So we don’t have to try in that way; it’s legit. And what Michael and I always say is that, in Batwheels, Batman’s parents could have been shot outside the cinema with a bunch of pearls falling to the ground in slow-motion. We just don’t ever show that side. That’s what makes it feel like a legit Batman…

Yes, and Ethan Hawke plays Batman quite sincerely in your show…
Well, Ethan Hawke loved the writing of the first four scripts just like I did. That’s what attracted him to the project. He was our first choice for the role – we went out to a few people; we shot for the stars – but he really gravitated towards it. He’s been an absolute joy to work with. We were very, very lucky to get him – I think he’s just perfect.

And from the way you spoke about it there, Simon, it sounded like you’re familiar with the lore. Were you a fan of Batman prior to Batwheels?
I wouldn’t say I’m an expert, but I’m a casual fan. I’ve watched all the movies, I’ve got the original printing of the Dark Knight Returns graphic novel from 1986. And I’m an old person, Deej, so I watched the 1966 show! So when I first got a call from my agents saying, “This is a bridge show, maybe preschool – but it’s a Batman show… Are you interested?” I said, “You had me at Bat!”

Ha!
Because who wouldn’t want to play around with someone else’s money in the middle of Gotham?! It’s a no-brainer! And I think you can tell that everybody’s had such a great time working on season three –we’re working on season four now… Now, if you don’t put any love into the screen, you don’t get any love out. That’s one of the things you can feel with Batwheels because we try to put in all these little Easter eggs and fun stuff for the adults. That way, parents and older siblings can get enjoyment out of watching it as well.

And what would you say is the biggest creative challenge working on Batwheels?
Creatively, you sometimes have a comedic idea you want to include, but you can’t step over the line! That’s a natural tendency that comes out of some situations, especially with the villains. You say, “Oh, wouldn’t it be funny if they said this?” But we can’t do it, so we find other ways. Also, I think the sound design is really important in Batwheels. If you listen carefully – here’re those two words again, legitimacy and fun… There’s legitimacy with the really meaty V8 and V12 engines and all that kind of thing with the vehicles; the jet sounds for Batwing and so on…

But then, on the fun side, the villains have more playful sounds… Like the Joker’s vehicle, for example. That has loads of carnival and clown-like sounds. Harley Quinn’s has got more pinball machine sounds, then – for Kitty – there’s this sort of purring engine… Loads of fun things!

I wasn’t expecting you to speak about the sound design today, but I sense the director in you coming out there… How important is sound design?
Oh, it’s huge – huge! Some of my favourite parts of the process are the music and sound design, because that’s when it all comes together. The visuals can get you 75% of the way there, but to put it over the finish line and tee everything up properly, there’s a bunch of stuff that I’ve learned doing films and watching other people doing films in the early days… Somebody said that sound’s 50% of animation because you can steer into the exact sweet spot through sound. You can use it to change the mood instantly. I always feel music’s kind of like food as it relates to the content of a show movie or a movie…

How so?
I think it’s kind of like going to a restaurant and having a meal. You have an appetiser, which is the first act. The second act is a main course, and the third act is a dessert. And then you have the whole ambience of the restaurant: the music… Then the waiter service is the sound design! That’s how it’s delivered to you. If you feel it that way, you’re using all your senses to pick up on all these cues… To me, that’s what sound design and music do. They give you the ambience and the service and serve up these moments emotionally.

I love that! What’s the one topic, Simon, that you’ve never been asked about in relation to Batwheels that you’d love to discuss?
That’s a hard question… Well, sound design is one of them. The music nobody’s really talked about, but the songs are really good. We didn’t want to have a song in every episode, but they’re really useful in terms of tone and storytelling… Andy Sturmer, who writes all the songs, is absolutely brilliant. And actually, I do just want to give props to the people on the show…

By all means!
So Andy Sturmer’s incredible… There’re maybe 15 to 20 songs in this season and it’s a challenge to write an original song that gives the tone and the vibe in a genre which is either juxtaposing the comedic characters or the situation, or teeing things up. Then there’s the musical composer, Alex Geringas. Alex is a Grammy Award-winner who graciously lent his talents to the show. He’s a multi-talented, multi-genre composer who totally gets the essence of Batwheels…

He really wants to ride this line where we want five-year-olds to be able to watch it, but not have it feel like a preschool show where it would push the siblings and parents away. We wanted to pull everybody in – if the five-year-old was watching it, then maybe the seven-year-old would think, ’Wait a minute, what the hell is that? It’s pretty cool!’ Then the parents do the same thing… ’Whoa! That Tumbler looks great. What is this?’ – so all of a sudden, you get everybody watching it.

And the music helps that?
Yes, the goal was to have the sophistication of the music and sound design, and the quality of the songs, pull everybody in as well as the brilliant animation. And props to the animators who did season three for us in Vancouver… They did an absolutely bang-up job to raise the quality of the animation – the lighting, the effects, everything – to get us up there with movie quality. I could go on and on! The whole crew is brilliant. Our CG supervisor, Annmarie Koenig, our producer Carl Greenblat, and our editor Kyle Stafford, have done a brilliant job of raising the bar for this season.

Amazing. And in terms of season four, what can you tell us?
I can’t say too much, but I will say that season four’s got one element that’s very close to my heart and it’s absolutely brilliant… It wasn’t my idea and I couldn’t believe it when the President of Warner Bros. Animation, Sam Register suggested it… It blew my mind! So working on this season four’s been an absolute joy; one of my favourite things I’ve ever done in my career. And so all I can say is you will not be dissatisfied.

Brilliant! For someone that can’t say much about it, that was a heck of a tease! Ha! I know we need to start wrapping things up as you’re on a tight schedule, Simon. But tell me: what keeps you creative?
Oh, that’s easy! Every job I’ve had, however long it continues, whatever I end up doing, it makes me feel like I’m just getting started. I learn from every project and it tees me up and brings a couple more weapons to my arsenal of making stuff. I just love making stuff! I don’t care if it’s 10 seconds or 10 hours!

Wow!
I love process. I love working with people. I love working with talented people. I love talent. And most of the time, I think I’m the least talented person involved… Everybody else is so good at their jobs, and it’s an absolute joy to watch these people go! Because it’s just such a brilliant experience watching people do their amazing things and be incredibly talented. So I feel very privileged to work with all these people – who are much more talented than I am – and end up with something so great… One thing I always say to people is, “Keep your pride…”

Keep your pride?
Keep your pride, yes. By which I mean you want, after you get off working on a TV show, to stand in a bar next to somebody who’s just done a major movie or whatever and be able to say, ‘Hey, look – we did that!’ But it’s not very difficult to motivate me to be creative… I love making stuff and I love working with people.

Fantastic! Thank you so much for joining me, Simon. I hope we can do it again; let’s find an excuse to talk about Antz!

The post Batwheels showrunner Simon J. Smith on making Batman a success with preschoolers – and their families appeared first on Brands Untapped.

Our model focuses on a small number of clients, but with deep relationships. That’s what LMCA is built on, and we continue to build on that. Ultimately, clients want to know you’re there, you show up consistently, you’ve got good strategic advice, and you’re not just pushing licensing, but rather looking at licensing as a business solution.

Perfect. Talk me through how that ‘business solution’ lens steers you?
Licensing is a business model, but it’s not the solution to everything. When we get into these quite deep conversations with clients about solving a business challenge – with some pretty senior people – we can see where licensing may fit and extend the brand…

We might also see how it could help a company launch a new division, or extend the company into a new part of the world. Licensing isn’t just about extending the product range – it can be about extending a client’s footprint.

“Licensing isn’t just about extending the product range – it can be about extending a client’s footprint.”

And what makes B2B licensing effective?
What makes B2B licensing effective is a fearless commitment to immersion. In B2C, audiences are intuitive – people are relatable by nature. Industries are not… You have to earn that understanding, and it requires a genuine willingness to go deep into a client’s world: its competitive position, its cost structure, how it goes to market, where it’s winning and where it’s under pressure. Only then can you design a program that genuinely moves the needle.

Can you give us an example of B2B licensing in action?
One of LMCA’s global clients is Castrol, one of the world’s leading lubricant brands. Castrol wished to venture into total automotive care, beyond oils and lubricants. As you know, one area you consider when changing or servicing your car is filters… And filters are a natural extension of that positioning.

By partnering Castrol with established manufacturers in each market, we were able to extend their brand into filters credibly and at scale, without Castrol taking on the operational burden of a multi-market manufacturing program. The brand reinforcement was real, the complexity was managed, and the program delivered commercial results across geographies simultaneously. That’s the kind of outcome licensing is uniquely positioned to deliver.

Another great example is the partnership between HP and Creaform. Can you tell me about that?
For nearly a decade, LMCA has served as the exclusive brand-licensing agency for HP. Their priority remains consistent… Find partners that enhance the core business rather than just benefit by association.

When we identified FARO Creaform – a world leader in 3D digital scanning and metrology – the strategic logic was immediately clear. HP leads in 3D additive manufacturing; FARO Creaform leads in 3D scanning. The two functions sit side by side in the product development lifecycle… That means the partnership is less about brand extension and more about turning adjacency into competitive advantage.

What have they created together?
They have created a line of HP-branded handheld 3D scanner solutions engineered to integrate with HP’s 3D printing workflows. For HP, the partnership expanded the ecosystem around their platform, giving customers another HP product in their toolbox. For FARO Creaform, alignment with a globally recognized brand accelerated their visibility and opened doors to new customers.

I know LMCA has several long-term clients. What are some of your north stars when it comes to enduring brand relationships?
Trust. It’s the foundation, and it’s necessary to start the conversation. No organisation is going to open its books, share its strategic anxieties, or invite you into its board-level thinking without a significant degree of confidence in who they’re working with.

But trust is only the beginning… Consistent performance is what keeps a relationship alive for 10 or 20 years – combined with intellectual honesty and a genuine commitment to the client’s long-term interests rather than your own short-term ones.

“Finding the right licensee has always been as much art as science.”

And consistency, in our experience, is built in person. You can manage a programme efficiently over a screen, but the relationships that have stood the test of time at LMCA are invariably the ones where we have put in the hours – on the factory floor, at the dinner table, in the boardroom.

And on the licensee side, what’s key to sourcing and working with partners?
A licensing program is only as strong as the licensees at its centre, and I think that point is sometimes underappreciated. We represent brand owners, but our ultimate measure of success is whether the program delivers value for everyone in the ecosystem: the brand, the licensee, and the end consumer.

Finding the right licensee has always been as much art as science. We’re looking for capability, yes, but also cultural alignment, commercial ambition, and the willingness to invest in the brand for the long term. What’s changed significantly is our ability to surface those partners more efficiently.

We developed a proprietary tool called LMCA Matchmaker specifically for this purpose. It draws on our decades of accumulated market knowledge and licensing expertise to analyse competitive dynamics and identify prospective licensees with a precision and speed that simply wasn’t possible before…

What previously took weeks of manual prospecting can now be accomplished in a fraction of the time – and with considerably more rigour. But the technology is the beginning, not the end. Once identified, the work of building a genuine partnership – understanding a licensee’s business, aligning on strategy, establishing the right foundations – remains deeply human.

I understand LMCA is having a rebrand?
Yes! A 40th anniversary is a natural moment for reflection, and we approached this rebrand as equal parts celebration and strategic exercise.

The celebration is genuine: four decades of building something meaningful is worth marking. But we were equally determined to use this moment to ask harder questions: does how we show up in the market today reflect who we’ve become? Any organisation that’s evolved as much as ours deserves a brand identity that keeps pace. Our team’s more diverse, our geographic footprint is broader and the range of perspectives we bring to every client has grown considerably.

So fundamentally, the rebrand is about ensuring our positioning reflects our evolution – the diversity of our team, the depth of our thinking and what genuinely sets us apart from other agencies in this space. We want the market to understand precisely who we are, what we do, and why it matters – the combination of unified strategic thinking and genuine, on-the- ground market knowledge that six international offices makes possible.

What fuels creativity within LMCA?
Creativity in our business is a function of diversity of perspective, geography and background – and a culture that genuinely encourages people to see things differently. When I look at what generates our best thinking, it’s almost invariably the product of people with genuinely different vantage points engaging seriously with a shared problem.

We have six offices across multiple continents, and the conversations that happen when those teams come together produce insights that no single office could arrive at independently. The person who has spent years building relationships in China sees an opportunity differently from the person who has been operating in the European market. That creative tension, managed well, is generative.

It’s also worth saying that creativity in our world doesn’t always look like what people typically associate with the word…

In what way?
It’s not always loud or obvious. It might be someone immersing themselves in a new technology and building something entirely new from it. It might be reframing a problem that a client’s been looking at for years… That quieter, more embedded form of creativity is what we run on – and it’s something we actively try to cultivate.

Also, the calibre of the brands we work with is a significant factor. There’s something inherently stimulating about working with organisations that have built genuine, enduring equity over decades… So that calibre raises the stakes, and it raises the quality of the thinking.

You cannot approach a brand like Kodak or Philips or Electrolux with a generic playbook. You have to understand what makes that brand meaningful to its consumers, what it stands for at a fundamental level, and how a licensing program can amplify rather than dilute that. That discipline, applied consistently across a diverse portfolio of global brands, keeps our thinking sharp.

The post LMCA’s Ciarán Coyle on the power of B2B licensing – and the agency’s north stars for success appeared first on Brands Untapped.

Back in the early days, myself and my then business partner Ian were working at another design agency and could see a gap between what clients needed and what they were getting. A lot of agencies were either too rigid, too slow or too focused on their own process rather than the outcome. That’s really what sparked Blue Kangaroo.

We wanted to build something that felt different – a business that was creative at its core, but also practical, responsive and easy to work with. No layers of complexity, no ego… Just good people doing good work and genuinely caring about the result.

In the beginning, it was very much about rolling up sleeves and saying yes to opportunities. We started out focused on marketing collateral and packaging, but quickly realised that clients didn’t want lots of different agencies, they wanted one team they trusted who could do more. That mindset shaped everything that followed.

Over the years, we’ve evolved into illustration, style guides, retail, experiential and now content creation – but the core idea hasn’t really changed. It’s always been about adapting, staying relevant and building long-term relationships, rather than chasing short-term wins.

If I look back now, the biggest driver wasn’t a specific idea – it was the desire to do things better, build something of our own, and create a team and culture people actually want to be part of. And somehow, 20 years later… Here we are.

Amazing. And what have been some crucial developments for the studio over the years?
If it had stayed as the business we started, we probably wouldn’t still be here. The evolution hasn’t just been a nice-to-have, it’s been essential.

In the early days, Blue Kangaroo was very much a design-for-hire studio. Marketing collateral, packaging – the kind of work that gets you in the door. It was fast-paced, reactive and a great foundation, but also quite transactional.

The first big shift came when we realised clients didn’t just want ‘design’, they wanted thinking. That’s when we started moving into style guides, brand development and illustration. Instead of just executing, we were helping shape how brands showed up. That was a big step up in terms of trust and value.

Another crucial moment was embracing international work. Making the decision to actively explore opportunities outside the UK especially across Europe and into the US. Different markets, bigger briefs, and long-term relationships with global brands. That shift has been massive for the business. But honestly, the biggest evolution hasn’t just been services, it’s been mindset.

And what have been some notable projects over the years?
One of the real turning points for us came early on when we started working with Paul Read, who was heading up the Disney Stores design team in Hammersmith at the time. He was the first person to really back us.

Up until then, we were building momentum, but this was different. Paul trusted us with the opportunity to work on major brands within The Walt Disney Company, and that trust forced us to level up fast. It changed everything… The standards, the thinking, the way we approached our work and ultimately how the industry started to see us.

That relationship with Disney is something I’m incredibly proud of. It’s played a huge part in putting Blue Kangaroo on the map. And 20 years on, we’re still working together which probably says more than anything else.

Another big one for us must be the Stranger Things x Primark project. It’s one of those moments where everything came together from brand, storytelling, retail, and full-scale execution.

Working with Netflix on such an iconic show and bringing that world to life in a physical retail environment, pushed us creatively and operationally. It wasn’t just about making something look good it had to feel authentic, immersive and true to the Stranger Things universe. It also showed how far we’d come.

What is the key to the studio’s longevity?
The team. The business has only grown because of the people in it, people who care about the work, challenge ideas and take ownership. As we’ve grown, making sure we’ve got the right people – and the right culture – has been critical.

And also staying grounded commercially. Creativity is at the heart of what we do, but we’ve always understood that our clients have objectives whether that’s driving sales, footfall or engagement. Balancing creativity with commercial thinking has helped us stay relevant.

What have been some recent highlights for the company?
The last couple of years have probably been some of the most exciting we’ve had a real mix of recognition, new directions, and building momentum.

Internally key moments have been strengthening the leadership team. Promoting from within has been a real highlight for me, seeing the team step up and take the reins has been one of the proudest moments over the past 20 years.

You’ve added different capabilities to the studio over the years. Looking ahead, do you see there being more strings to add to your bow?
Short answer is yes… But not for the sake of it. Every time we’ve added a new capability, it’s come from a real need. Either clients were asking for it, or we could see a gap where we could add more value. It’s never been about saying: “We should offer this”. It’s been: “We’re already halfway there, so let’s do it properly.”

That’s how we moved from design into illustration, then into 3D and experiential, and more recently into content. Looking ahead, I don’t think it’s about bolting on loads of new services. It’s more about deepening what we already do and joining it up better.

Last question! How would you describe the creative culture at Blue Kangaroo? And what fuels your own creativity?
I’d describe the culture as open, collaborative, and grounded.

There are no big egos here as the best ideas can come from anywhere, and that’s genuinely how we work. It’s not about hierarchy; it’s about getting to the strongest outcome. People are encouraged to challenge, to contribute and to take ownership of what they’re doing.

At the same time, it’s a very practical kind of creativity. We’re not creating work to sit in a portfolio – it has to live in the real world, whether that’s in retail, at an event or as part of a campaign. So there’s a constant balance between pushing ideas and making sure they actually work. That keeps everyone sharp.

There’s also a strong sense of a team and shared responsibility. The projects we take on are often complex, with lots of moving parts, so collaboration isn’t optional it’s essential. When it works well, there’s a real buzz around the studio.

The post As Blue Kangaroo turns 20, Jason Knights reflects on what has shaped the creative powerhouse over the years appeared first on Brands Untapped.

Our strength lies in our agility, ensuring we can respond quickly and effectively to market trends, customer demands and emerging opportunities. We have built a strong presence within the tourism industry, which continues to be a rewarding and successful market for us.

More recently, our focus has expanded further into the Character and Music sectors where we see significant growth potential. Above all, our priority is to keep our customers happy while continuing to evolve into areas where we identify gaps and opportunities within the market. We are also a heritage brand supplier and will we continue to bring in new licenses to support and strengthen that offer.

Apparel is at the heart of Spike’s business with a lot of focus on t-shirts. In your experience, what makes a good t-shirt design for Spike and your customers?
For Spike, what makes a great t-shirt design is its ability to capture the essence of why fans connect so deeply with a particular licence. Whether it’s an iconic scene, a favourite character or a memorable quote, the design must create an emotional connection with the customer.

Working on the supplier side has given me a completely different perspective on the process. It’s no longer just about the artwork. It’s about every detail that brings the product to life. Are we using the best possible blank? Does the print have the impact and quality it needs? Does the finished product truly do the licence justice?

To some it may just be a t-shirt, but to me it’s a statement of identity and a way for people to express what they love and who they are. That mindset is what continues to drive us at Spike. Our philosophy has always remained the same: deliver the best designs we can, on the highest quality garments possible, while continuing to exceed customer expectations.

Another thing I believe makes a good t-shirt is the effort and time put into it. When we start work on a design, we will be given style guides with approved assets to work with. In my world there is no slapped on logos. They have their place as evergreens in stores but, for us, it’s about how we can take these assets and make something new and exciting… Tell a different story to the one that’s been told a thousand times.

What’s new for Spike in 2026 and beyond?
We’ve welcomed exciting licences such as Steven Rhodes, Moomins, Sesame Street, My Charming Dead and Emily the Strange just to name a few. Each one brings something completely different to our portfolio and opens new creative opportunities for us as a business.

Our focus now is to continue building on the trajectory we’ve created. Every day we’re learning more and improving what we do. We will continue pushing ourselves to deliver stronger products, better collections, and more exciting opportunities for our customers. That constant evolution is what keeps the business moving forward and there’s still so much more to come.

One of the licenses you have worked with for some time is The Beatles. Given the history of the band and the brand, how do you keep things fresh design-wise?
It’s such a privilege to work with what is in my opinion the greatest band of all time. A huge amount of credit has to go to Caroline Mickler and her team who consistently ensures we’re kept fully up to date with the latest style guides, assets and creative direction.

A perfect example of how we can navigate this market is in the recent release surrounding Anthology 4. The level of excitement generated by the launch – alongside the incredible marketing campaign and influx of product into the market – created real momentum for the band and naturally elevated our own collections alongside it. What stood out most to me at that time was the fact I was sat around a table of people who were excited to be talking about and looking at new designs from band who first had their number one hit in 1963. That’s legacy for you.

I also have to give huge praise to our designer Mike who works tirelessly to ensure every design is as strong and authentic as it can possibly be. Attention to detail is everything with a brand like The Beatles. Fans know the history, the artwork and the eras inside out, so every piece must feel considered and meaningful.

Equally important is how those products are marketed. You can create the best design in the world but if nobody sees it, who can agree? That’s why we make sure we promote our Beatles collections across every possible avenue keeping fans engaged, informed and excited about what’s coming next.

You have a great network of retailers. How do you work with your retailers around areas like display?
Both myself and our Managing Director come from strong retail backgrounds which gives us a real advantage when working with customers. Having spent over 40 years combined on the shop floor, we understand what works in a retail environment. That experience allows us to confidently guide our customers on the best ways to display and present products in store.

We also understand the challenges many retailers face throughout the year, particularly within the tourism sector where quieter winter periods can significantly impact sales. Because of this we’re currently working closely with a selection of our tourism stores to help diversify their product offering during the off-season. By introducing music, pop culture and character licences into their ranges, we’re helping them maintain momentum, attract new customers, and create year-round sales opportunities.

A lot of your retailers are in tourist sites and locations. How do you ensure your products and range work in this retail channel?
Keeping my eyes and ears open has been one of the most important parts of my journey with Spike. When I first joined the company, one of the very first things I did was visit a few stores that stock our products. Not only was I overwhelmed by the kindness and passion of the store owners and employees, but it also gave me invaluable first-hand insight into what was working well, what customers were looking for and where we could improve.

It quickly became clear that success in this market is about creating a genuine point of difference. A huge amount of time goes into researching trends, understanding consumer behaviour, and identifying opportunities within the market. I know that in many cases, our products only have a few seconds to catch a customer’s eye from the street, so every design has to make an immediate impact.

That’s why collaborating with incredibly talented artists is such an important part of what we do. One standout example is P.D.Moreno, who created a range of designs inspired by iconic London landmarks. It’s a privilege to work alongside artists like them, whose creativity helps bring fresh energy to an often-oversaturated market. Their work allows us to stand apart, create unique collections and continue offering customers something truly distinctive.

Where do you see growth coming for Spike in retail over the next year or so?
Spike is only just getting started and honestly that was one of the things that excited me most when I joined the company. When I started in February, my first two questions were simple: What does retail actually want? and what’s currently missing from the market?

Since then, we’ve signed 18 new licences – each completely unique and powerful in its own way – and that’s something I’m incredibly proud of. Those additions have transformed our portfolio and opened doors into markets and categories that simply weren’t accessible to us before. That’s where the real growth opportunity lies.

Having previously worked on the retail side, I understand how frustrating it can sometimes be. Retailers are often shown early concepts or small snapshots of what could be possible, and while you can guide a supplier in a certain direction, it doesn’t always guarantee there will be a finished product at the end of the process. At Spike, we want to change that. Our goal is to ensure we deliver a complete, commercially strong product that retailers can confidently take to market.

We’ve worked hard to make our offering as accessible and flexible as possible. We keep our MOQs at a level that works for a wide range of customers, maintain strong print capacities, making sure we have the stock available and a focus on bridging gaps wherever we see opportunities. More importantly, we’re building far more than just a strong apparel collection. Alongside our clothing offer, we’re also developing complementary merchandise ranges that will allow retailers to create a more complete and elevated consumer experience.

There’s a huge amount currently in development, and we’re only continuing to push forward. Our focus is and always will be bringing elevated products to the market.

You work with Aardman on Wallace & Gromit. Design-wise, how have you approached this brand?
It’s already been a huge year for Aardman given the anniversary and the products currently on the market feel stronger and more exciting than ever. At the same time, that only fuels the motivation to keep pushing boundaries and exploring what more can be done, how far we can take the brand, and how we continue evolving it for fans in fresh and unexpected ways.

I always find myself looking at Feathers McGraw, who I genuinely believe is one of the greatest villains of all time. The challenge becomes: how do we push that side of his character even further? How do we lean into his mischievous, darker personality and present him in such a way?

For me, it’s essential to constantly study the market and understand what’s already out there because having a clear point of difference is everything. Seeing collaborations like the Aardman x Uniqlo collection was incredibly inspiring and really got me thinking differently about the direction the brand could take. They put Feathers holding a giant shiny diamond on a t-shirt… Genius! Our approach has been to dig deeper into the characters themselves asking what’s missing from retail, what current trends are emerging, and how we can reinterpret these much loved characters. Has Gromit for example been explored enough within the cottage core aesthetic? Those are the kinds of conversations we love having.

I also think it’s important to look back at the roots of what made people fall in love with Aardman in the first place. I often think about the early days when fans could cut a coupon from a newspaper and send it away for a free t-shirt or when incredibly limited designs sometimes only 50 pieces were released for a promotion. Those products created a real emotional connection with fans and many of those original tees are probably still tucked away in wardrobes today. That nostalgia, exclusivity and sense of personality is something we always try to capture in the work we create now. That is how I’ve approached this brand.

And I couldn’t talk about Aardman without mentioning you Ian. Since starting my licensing journey, you have been a constant support, offering advice and guiding me on the latest trends.

That’s very kind! Now, you also have had a lot of success with Mr Bean. What do you think has made Mr Bean a perennially popular brand in your world?
It’s an inherently British brand and that’s part of what makes it so special. There’s no hidden agenda. It’s created for people to enjoy and connect with. That authenticity is what allows a brand to evolve beyond a passing trend and become a timeless classic.

Mr. Bean is a perfect example of this and it’s a brand that continues to grow in popularity for us year after year. Its appeal is universal reaching across every age group and generation. From young children wanting a Teddy plush to adults looking for a t-shirt or a pair of socks. The brand has an ability to connect with everyone in a genuine and light-hearted way. That broad appeal is incredibly powerful. Few brands can create the same sense of familiarity, comfort, and humour across such a wide audience, which is exactly why Mr. Bean continues to resonate with fans around the world today.

If any licensing agents or rights holders are reading, what advice would you give them on pitching new opportunities to Spike?
I’d honestly say that you don’t have to come to us with the biggest IP in the world. If you have something you believe in, that is fresh to the market, that can turn heads and that screams pop culture – then we will take a look at it. The license speaks for itself. There really isn’t much more to say. Believe in your brand, after that anything is possible.

Finally, thinking about your own wardrobe what are your three go to t-shirts? Why are they your favourites?
My first choice would have to be my Rock Off Billie Eilish Hit Me Hard and Soft Tracklist tee. I can’t quite explain my love for Billie Eilish tees, I don’t think you have to be a fan of hers to know just by looking at her merch that it’s on another level. To understand, seeing a new Billie Eilish design for me is like seeing Led Zeppelins Icarus for the first time. Led Zeppelin represented themselves as a god on a t-shirt. What could be cooler than that?

My second go to is my Kenji Morty tee. For me being surrounded by Kinji product has always just make me smile. Everything from the cutest plush possible to bubble tea keychains. The new Underverse collection is just my everyday staple.

Lastly me being me you’ll always find me in some kind of streetwear. Everyone who knows me can guarantee it’ll show up in either Stussy or Supreme and lately I’ve been loving my Supreme Futura box logo. Futura is an incredible artist, and this tee is a statement on its own.

The post Spike Leisurewear’s Byron Williamson on what makes a great licensed t-shirt appeared first on Brands Untapped.

When we launched Miraculous on Roblox, it reached 100 million plays in just seven weeks without any marketing. This isn’t luck; it reflects an audience that quickly connected with familiar elements. Today, we are approaching a billion plays on Roblox, with 65% of the audience being female – a demographic historically underserved in gaming. We’re proud to have created something meaningful for this audience.

The brand has enjoyed collabs with Talking Tom and Stumble Guys. What do you look for in a brand collaboration? What makes an IP a neat fit for Miraculous?
The starting point is always audience alignment. We focus on finding the right partners rather than the biggest names. Miraculous has a specific core audience: kids, teens, and families who care about the characters and their relationships. Any collaboration must resonate with this audience.

Talking Tom was intriguing because Outfit7 has developed a beloved kids’ gaming ecosystem that’s warm and personality-driven. This tonal match is essential. In contrast, Stumble Guys, while broader and more chaotic, has significant overlap with our audience, and its costume-driven customization was a natural fit for Miraculous.

I also look for partners who see licensed collaborations as creative exercises, not just brand placements. The best partners come with a vision for how the IP can enhance their world, rather than just how our logo benefits their marketing.

With Miraculous having characters with iconic looks, does that help when it comes to collabs? The fact that you can give the ‘Miraculous’ treatment to other brands and characters through costumes?
The Miraculous gaming IP has a unique advantage in its visual design. Characters like Ladybug and Cat Noir are instantly recognizable due to elements like polka dots, the yoyo, and Cat Noir’s ears, allowing players to identify them quickly without tutorials.
The transformation mechanic is also key for costume collaborations, as it centres on characters switching between their civilian and superhero identities.

When we create Miraculous-themed outfits for characters like Tom or those in Stumble Guys, it feels authentic, as if they have truly become part of the Miraculous universe. These costumes carry narrative significance that players can intuitively appreciate.

How do you ensure both sides of a collaboration like these feel equal or not too heavily weighted in one direction?
My approach is to get the Miraculous creative team embedded early in the process, not at the approval stage. We want to understand the game’s design logic, its art direction, what the players actually engage with – and then bring Miraculous expertise to those specific parameters.

The partner brings the gameplay canvas; we bring the IP depth. When both sides are actively problem-solving together, the output feels native to both worlds. The audience of each IP should be able to look at the collab and recognise something genuinely theirs and not feel like they’re watching an ad for the other brand.

Talking Tom and Stumble Guys have defined worlds and gameplay mechanisms. What was the process like integrating Miraculous into these?
Each collaboration presented its own creative challenge. Talking Tom Hero Dash, an action runner focused on speed and superheroes, integrated Miraculous characters like Ladybug seamlessly, as they fit naturally into the game’s heroic context. The main challenge was ensuring the Miraculous aesthetic aligned with Outfit7’s art style while meeting players’ expectations. Conversely, Talking Angela 2 emphasizes lifestyle and personalization, highlighting the emotional aspects of Miraculous rather than action mechanics.

Stumble Guys posed a different challenge, requiring a visual language that works in a fast-paced multiplayer environment. The Miraculous costumes were suitable due to their bold and recognizable design, but we needed to integrate powers and props naturally into the gameplay.

Both projects reinforced a key lesson: successful integration starts with respecting the host game’s design logic, rather than forcing a concept into an ill-suited framework.

Do these examples also highlight the benefits of being ‘flexible’ as a brand owner?
Yes, in gaming, if you can’t adapt your IP to the visual and mechanical language of the platform you’re entering, you will fail. The creative brief from game developers is real. They need your characters to function inside their art style, their UI, and their animation constraints.

That said, flexibility doesn’t mean abandoning the IP. It means trusting that the core identity of Miraculous, the transformation, the powers, the emotional relationships between characters, is robust enough to survive being rendered in a different art style or adapted into a different gameplay context. We are committed to our core beliefs but open to adapting how we implement them. This is the key difference.

Is the world of gaming an area you’d like to explore further in the future?
We’re not exploring it further, we’re already deep in it! The question for us is about depth and portfolio architecture. The Roblox franchise approaching a billion plays is not an endpoint; it’s a proof of concept that Miraculous can build a genuinely long-term gaming presence.

What I’m focused on now is how we build a gaming portfolio that reflects the breadth of the IP – across platforms, across genres, across age ranges within our audience. There’s meaningful space still to move in on mobile, on console, on newer platforms. We’ve proven the brand works in gaming. The more interesting challenge now is building it strategically rather than opportunistically.

The post Elinor Schops – VP of Digital and Gaming at Miraculous Corp – on the key to successful gaming collaborations appeared first on Brands Untapped.

As Spiralcute International begins its expansion, we are investing in a truly global operation, including the launch of a new headquarters in Los Angeles. This expansion will increase global access to these brands. Japanese originated IP remains central to everything we do, and protecting the integrity of that creative foundation is fundamental as we grow.

Alongside this, we’re assembling an international team with expertise across licensing, creative, retail and marketing to support 360-degree brand development in a way that remains faithful to each brand’s origins.

Our focus spans character IP development, licensing strategy and brand management. What defines us, however, is our role as a bridge – bringing digitally native, culturally specific characters into a structured global ecosystem. We connect the authenticity and momentum these brands have built in their home markets with the infrastructure, partnerships and strategic oversight needed to expand access internationally, without losing what makes them special. Ultimately, we’re building brands that audiences already love and giving them the platform to travel.

Digging into your artist-first approach, what gave IP like Chiikawa, Mofusand and Koupen Chan ‘brand potential’?
For us, brand potential always starts with emotional connection rather than commercial intent. What unites IP like Chiikawa, Mofusand and Koupen Chan is that they already behave like brands before they are formally developed as such. Each has a distinct voice and clear emotional territory – whether that’s the relatability of Chiikawa, the playful absurdity of Mofusand, or the comforting positivity of Koupen Chan.

They’ve also built highly engaged audiences organically through digital platforms, which gives us a strong signal that the connection is both real and scalable. Importantly, we approach growth from a creative-first, culture-first perspective. Commercial opportunities follow that connection, ensuring that expansion never comes at the expense of what made these characters resonate in the first place.

Crucially, they combine simplicity with depth. The designs are instantly recognisable, but they allow for storytelling, expression and evolution across formats. That balance allows them to move naturally into licensing without feeling forced.

How do you assess the global appetite for these brands? Are some more suited to international expansion than others?
We take a layered approach to assessing global potential. We look at where engagement is already happening beyond the home market, how content is being shared, and whether communities are forming organically. Just as importantly, we consider how global audiences connect with the work without changing its DNA, ensuring that expansion is driven by resonance, not adaptation.

Not every IP is designed to scale globally in the same way, and we’re very conscious of that. Some characters are inherently global, particularly those driven by visual storytelling and universal emotions. Others may remain more regionally anchored, and that’s equally valuable. Our role isn’t to force global expansion, but to identify where resonance already exists and build from there in a way that feels authentic.

What goes into getting these characters licensing-ready?
Preparing a character for licensing is about creating structure without losing spontaneity. We begin by codifying the brand – defining tone of voice, character traits and the rules of the world they inhabit. From there, we build out visual systems, including style guides and asset libraries, to ensure consistency across partners and markets.

We also consider how much narrative is required. These brands don’t need heavy storytelling, but they benefit from a clear framework that supports product development and content. Alongside this, we map out category opportunities and approach localisation with care ensuring that the brand translates culturally while staying true to its origin. The goal is to build a foundation that enables scale while protecting the creative integrity and intuitive connection audiences already have with the characters.

Which product categories do you see these characters thriving in?
These brands are inherently expressive and highly visual, which makes them incredibly versatile across product categories. We see particular strength in plush and collectibles, which often act as the entry point for fans.

Beyond this, categories such as publishing, apparel, accessories, stationery, gifting and everyday lifestyle products play a central role in the consumer offering. These brands resonate with a broad audience and translate seamlessly into products that become part of fans’ daily lives.

Importantly, product is not the starting point – it’s an extension of the relationship fans already have with these characters. Each category is approached as a way to deepen that connection, rather than simply scale commercially. What underpins all of this is emotional resonance. These aren’t just products – they are small, tangible expressions of how fans relate to the characters, and they spark joy.

“Brand potential always starts with emotional connection rather than commercial intent.”

Jazwares are on board for toys. What made them the right partner for you in this key category?
Jazwares stood out for their ability to translate IP into high-quality, globally scalable toy lines while retaining the essence of the original brand. They combine strong design sensibility with deep expertise in distribution and retail, which is critical when you’re looking to build momentum across multiple markets. Just as importantly, they understand the role of collectability and how to create ranges that feel both accessible and special.

Alongside this, Jazwares will also act as the global distributor – excluding Asia – for authentic plush developed in Japan. This creates a complementary, dual-line approach, bringing together locally developed Jazwares product with original Japanese ranges – ensuring that as we expand access globally, the authenticity of Japan-origin IP remains front and centre.

From the debut lines, you can expect faithful interpretations of the characters, with a strong focus on plush and collectible formats with room to expand into broader ranges as the brands continue to grow.

Is there a character in your roster that people perhaps won’t be familiar with, but that you feel is ripe with licensing potential?
We’re constantly working with emerging creators, and often the most exciting opportunities come from IP that’s still in the early stages of building an audience. What we look for is a strong, distinctive point of view and early signs of community engagement. If a character is already resonating with people on a small scale, there’s usually something real to build on.

Our approach is always to support that connection, rather than define it – helping creators bring their work to wider audiences without losing the qualities that made it resonate in the first place. While our current focus is on expanding access to brands like Mofusand, Chiikawa and Koupen Chan internationally, we have a broad and deep portfolio of creator-led IP.

There’s an incredible catalogue of talent and characters behind the scenes, and we’re excited to begin introducing more of these. That breadth is central to how we operate. The next breakout brand is often already connecting with audiences – we’re simply helping to give it the structure and reach to grow, while staying true to its creative origin.

The post Spiralcute’s Kate Schlomann discusses product plans – and the company’s artist-first philosophy appeared first on Brands Untapped.

Beth Clarke, Themed Entertainments Creative, Merlin Making Magic, Merlin Entertainments Group: Bluey is a natural fit for a coaster because so much of what we look for in a great guest experience is already embedded in the brand. It’s an incredibly popular family IP, and each story is built around playfulness, fun energy and family memories. That combination gives you an experience that is rich in colourful theming and recognisable features which creates the excitement that we want to bring into a new family attraction.

And Natasha, what makes this coaster an exciting moment for the Bluey brand?
Natasha Spence, Events Director, Live Attractions, BBC Studios: Creating the world’s first Bluey coaster is an incredibly exciting moment for the brand! Expanding the world of the show into a real-life exciting touch point for families. At its core, Bluey is about play and fun and this coaster alongside it’s theming captures the spirit and warmth of the brand. Bluey inspires families to bond through play and creating a junior coaster provides a great opportunity for families to create lasting memories.

There’re many different strings you could pull on with Bluey when it comes to this sort of attraction. What did those early conversations with BBC Studios look like?
Jonathan: I’d like to tell you a lot of thought and debate went into those early conversations when discussing what the narrative and theme of the ride could be. In fact, the answer was very simple for us… The Grannies had to take over this junior coaster! Though Bluey has so many charming components within every episode, we couldn’t ignore the similarities between a family’s day out at a theme park and an adventure with the Grannies!

Beth: Yes, from the very beginning, we were struck by just how many moments in Bluey could translate beautifully into an attraction, which made those early creative conversations incredibly exciting. As the concept evolved, the ‘Grannies’ naturally stood out to us. They’re such a beloved and instantly recognisable part of the show, and they gave us the perfect anchor for the overall experience.

“There is a lot of potential for Bluey within live attractions.”

Natasha: It made complete sense – the fun, the chaos, driving around in the garden in the Granny car and the near misses – the perfect formula for the ride. We knew that this was something that we could have fun with and provide an unforgettable experience for families. We also leaned into the fact that Grannies is one of our most popular episodes and has received such a huge response in our other live activations – whether it be Macy’s Parade, Bluey’s Big Play, Bluey x Camp and most recently Bluey’s Best Day Ever at the Fantasy Land Theatre in Disneyland California.

Talk me through the ride experience. And more broadly speaking, how important is storytelling when putting together kids’ coasters?
Beth: The experience truly begins at the CBeebies Land portal, as soon as you turn the corner you are greeted by the sight of the Heeler house. We wanted to make sure that first look of the ride is as iconic as it gets! The queue line features more fun iconic moments, like playing Keepy Uppy with Bluey and Bingo, dancing through the fairy rings, and exploring Rug Island.

Our key story beat is of course the coaster; guests hop into the Granny car with Rita at the wheel and set off on a crazy drive around the back garden with the Grannies. The coaster has twists and turns around the Poinciana tree, we dodge Bandit mowing the lawn, dive under the washing line, and pass Granny Gladys on her mobility scooter.

Storytelling is at the heart of any ride. We want guests to feel like they’ve stepped straight into the world of the Bluey, experiencing the magic of meeting the characters and joining in their fun adventures. It’s playful, energetic, and full of surprises.

Jonathan: Storytelling and playing together is at the heart of everything we do here at Merlin. When families visit our attractions, we want them to have fun and create brilliant memories together… Things you watch the Heeler family doing all the time. After 12 years of CBeebies Land, we knew we needed to raise the bar especially with a huge IP like Bluey. With BBC Studios and Ludo, we’ve worked incredibly hard to ensure every detail has been thought about, and it’s those little details fans will really notice and appreciate.

What was the biggest challenge in putting this coaster together?
Jonathan: The biggest challenge has to be the high level of theming and detail this world’s first coaster deserved. Building the Heeler house with animated windows was an exciting feature to add but came with huge pressure, as it’s iconic to the show and true fans would spot the slightest mistake. The solution to those challenges was teamwork – from our dedicated project team in Merlin Magic Making, to the incredible input and attention to detail provided by BBC Studios and Ludo, I was in no doubt that we’d overcome any challenge to create an experience worthy of our guests demands.

Beth: The biggest challenge was preserving everything that makes Bluey so special, capturing the humour and personality within the ride experience. Our focus was on bringing the show’s playful spirit and much-loved characters to life at every turn, creating the feeling that guests have stepped straight into an episode. Every detail adds another layer for Bluey fans to discover and enjoy, bringing a smile to their faces every time they notice something new!

And Natasha, this is the first ever Bluey coaster – do you see there being more launches in the space moving forward?
Natasha: As the Live Events team, we are always open to exploring new opportunities for Bluey across the full gamut of live experiences. Within CBeebies Land, we already have a fantastic range of touchpoints – from the live show and meet-and-greets with Bluey and her family, to the themed accommodation – which together create a rich and well-rounded brand experience.

In terms of future launches, it’s less about replicating a specific format like a coaster, and more about identifying the right experiences that feel true to the brand and resonate with our audience. If there are opportunities that allow us to build on that in new and exciting ways, we’d absolutely look to explore them.

And what are some key considerations that steer whether you go for a launch within a wider eco-system – like Here Comes the Grannies at CBeebies Land – versus a dedicated Bluey space – like taking over Northshore Pavillion for Bluey’s World?
Natasha: Adding a Bluey junior coaster within CBeebies Land made absolute sense given the popularity of the series on the CBeebies channel, as well as how naturally it complements the other branded experiences, live shows and rides within the Land.

“The fun, the chaos, driving around in the garden in the Granny car and the near misses – it was the perfect formula for the ride.”

For any new activation, we take a step back and look at it through a couple of key lenses. Firstly, what do fans of the brand genuinely want and expect from the experience? Secondly, how well does the IP and the proposed activation integrate into an existing environment.

And from the Merlin perspective, how do you assess if a brand would suit the coaster treatment? What makes a brand attractive to you?
Jonathan: Between ourselves and BBC Studios, we have a great balance of listening to our audience and analysing the data. Not every brand would work in a coaster format, some brands lend themselves more to softer sensory experiences, other brands through play and we’ve even explored puppetry along the way! I think that’s one of the great things about working with the CBeebies brand, they have a range of programmes and brands that cater to everyone. We then take those qualities and drive that into CBeebies Land and our future planning.

When it comes to coaster design, there’s story beats, engineering decisions, safety considerations… How much is it an art and how much is it a science?
Beth: It’s very much both an art and a science, and the two have to work hand-in-hand to create something truly special. The art is in shaping the story, emotion and overall guest journey, while the science, through engineering, technical precision and safety, brings that vision to life. The best attractions are the ones where those elements come together seamlessly, creating an experience that feels exciting, immersive and engaging for the whole family.

Last question! Where do you see potential for Bluey in live attractions moving forward? What should we keep an eye out for?
Natasha: There is a lot of potential for Bluey within live attractions. Our focus is exploring that in a considered way – building on what already works and ensuring that anything new feels authentic to the brand. However, like I’ve said before Billy, watch this space!

We will! Thanks again guys.

The post “It’s an incredibly exciting moment for the brand”: BBC Studios and Merlin Entertainments discuss the development – and launch – of Bluey the Ride appeared first on Brands Untapped.

There’s still a lot of momentum out there, particularly in heritage. I’ve been working with a lot of “new to licensing” museums and institutions who’ve watched the success of the big players and started looking at their collections – not just as archives, but as IP with cultural and emotional value. Heritage licensing is now established enough that simply having an archive isn’t the magic trick anymore. Everyone has beautiful objects… Everyone has a few Hokusais knocking about somewhere… The challenge now is finding the thing that makes your collection feel culturally specific and creatively ownable.

One thing I try to get across to clients is that competition in heritage isn’t really a zero-sum game. The opportunity is in carving out a distinctive point of view and finding the new thing your archive can represent.

Talking of heritage, I know you have recently worked with The Ashmolean Museum on some new design assets. The Human Hand theme you created is very different and a new move for the Ashmolean. Can you tell us more about this project?
I loved working on this project. Dec and Carrie at the Ashmolean are dream clients. They’re creative, thoughtful and willing to question everything. On top of that they’re seriously passionate about the Ashmolean and its collections. They came to me with some pretty deep questions. They had a world class collection of objects, spanning thousands of years of history. How do you represent that at a licensing level? How do you set it apart from the other IP out there? What is the Ashmolean design ethos? What’s their creative lens?

Because of the cultural and historical context in which they’re made, British museums are going to have relatively similar collections. Everyone has a bit of Morris, a few tapestries hanging around, a cast court or two. So how do you make the design distinctive enough that it’s ownable whilst respecting scholarship? At some point we had a collective brainwave. Everything in the museum collection had been conceived, designed and made by a human being. That’s a really powerful concept. At the moment there’s a real cultural appetite for the human over the automated. We’re all worried about the effects of AI on creativity and how it’s being used so the human hand becomes something to be celebrated.

I came up with the statement “WE BELIEVE IN THE HUMAN HAND”. The heft and might of this felt like a rallying cry for designers which then led on to a manifesto of sorts centering around the idea of celebrating the human signs in design. The thumbprint, the ink stain, the brush mark… Imperfection has a beauty that is inherently human. This focused into a design style that took these marks as a starting point to build up ‘inspired by design’. Surface pattern and material all play a part in celebrating the tactility of a physical object made at a human scale.

It gives, I think, a really distinctive look and feel for the Ashmolean. The manifesto gives a clear design steer to licensees to be able to create new and ownable design based on the collection.

Terrific! You have also been working with The Royal Entomological Society, who are new to licensing. How do you help brands to get started with assets for licensing?
Yes, again an institution in need of a unique offer. Their contemporary work is about understanding and developing insect science. They also have an archive of illustration and prints going back into history. The archive is a rich, scientific and historic resource which has been interesting to delve into creatively in order to extract different storytelling themes that further enhance the RES’ unique creative fingerprint.

Nikki Beckett has been engaged by them to recruit new partners and licensees and so we worked on a concept to story tell around underrepresented nocturnal insects and celebrate their often-forgotten beauty and positive contribution to our lives, pollinating in the night shift. Insect and plant life are very active in the night hours and the garden comes to life in all its sensory glory. This is a gift for design as it’s so visually distinctive. I came up with a rich, deep hued set of design assets that conveyed sense, scent and drama. A new look for the archive that sets them apart from the rest.

I think with these projects it’s really important to give licensees a reason to work with the IP holder. You have to answer the ‘Why?” question and I think being bold, innovative and distinctive in design does that.

Beyond talking to your clients about their objectives, how do you make sure you are ‘match ready’ when taking on projects like this?
The usual process is archive dive, retail audit, audience mapping, competitor scan, tone-of-voice check… That kind of thing. At the point of contact with me, clients are usually fairly entrenched in the project so it’s important to bring a fresh pair of eyes that have a broad overview of the industry. Working with a client base across toys, license, immersive and heritage is really important. It helps to bring learnings from one part of the industry to the next.

In terms of keeping creativity up to speed and fresh, I try to look at design outside of the industry as much as possible. Consumers don’t see a licensed product on the shelf they just see something that appeals – so I think we need to speak that global design language. Recently I’ve been experimenting with escaping the vectors. I did a cool mini project with the RES using inky bug prints I’d made with my kids. Fresh work. Sadly my mini design team is asking for a heavy royalty so it’s a loss leader.

You are building up a great portfolio of clients and work in the heritage sector. What general advice would you give to a heritage brand looking to commission design work based on their archives?
Be unique. It’s really important in a growing market to carve a niche and give licensees a reason to work with you. The usual method of putting a nice bit of the archive on a mug will only go so far. Collections need to find a design process that interprets the collections in a way that becomes part of their brand. In a heritage context, it’s important to respect the object and maker – so don’t ignore that initial thought process that gives a strong philosophy behind it all.

And I understand you’re also working with The Royal Armouries too?
Yes – another relatively new to license client. The Royal Armouries are looking to build on a huge YouTube audience that has built around their series “What is this Weapon”. They’ve got more than 420k subscribers and are still growing so a willing and interested audience is there. A big part of the work with the RA was to define the audience. It’s easy to think the YouTube audience is mainly teenage gamers, but there’s also a strong following of collectors and history buffs out there too.

Arms and Armour is a sensitive subject. We wanted to get across that each object is part of a bigger story about conflict, craftsmanship, innovation, culture and human behaviour. It’s not just about things that go bang. Design centered on bringing out data and detail – something we know that their audiences love.

You spent a number of years at Aardman creating assets for brands like Shaun the Sheep and Wallace & Gromit. Thinking about the character brand market, what trends have you seen coming through strongly this year?
There’s been a huge influence from East Asian character culture, particularly around collectability, emotional design and stylised cuteness and that has by far been the biggest design change I’ve seen in years. My local research hot spot is Cardiff – the shops that seem to be thriving are all selling Japanese, Korean and Chinese IP. I’m seeing European brands starting to make themselves appeal to that audience both here in the UK and also over in the Far East.

I’ve been commissioned recently to design some dinosaur characters for The Natural History Museum. Dippy and Sophie were briefed to have appeal to the Chinese market and to capture that cuteness that works so well out there.

On that, being a UK based designer, how do you ensure your work has international appeal?
Humour, colour, symbolism and product formats don’t always travel cleanly. So it’s really, really important to listen to local advice and not rely on your own taste. Luckily, I’ve always worked with strong teams in Japan and China. It’s the one area of design where you actually want someone to say: “That’s not right for us”. That’s often a difficult ask for a Far Eastern design team but the skill is drawing out the criticism and doubt and refining it back into a better product.

For me, typeface choice has always been a tough process. It’s so baked into our respective cultures that it’s hard to accept the others’ preference. But that you must. It’s about respecting others’ better knowledge and understanding their eye is more in tune than yours. As a designer that’s a really tough task but over the years I’ve learnt to trust the process.

A well-trodden route in character licensing is ‘collaborations’ between well-known brands. In your view, how do you make the most of opportunities like this?
I think the best ones create a third thing. It’s not about ‘brand A’ being pasted onto ‘brand B’. it’s about creating something new and unique. I worked on a lot of collab projects at Aardman and was mindful to be very loose with our creative interpretation. Both brands need to be open to the other’s ideas and design style. Fans want to see what the outcome of the process is, that’s part of the fun. It gives unexpected results. With character in particular it’s easy to get caught up in worrying about the ‘world’ and the rules, but these things exist in a liminal space and rule-breaking is part of the process.

I also think the best ones lean into the inherent silliness and absurdity of it all. “Yeah we’re all cashing in but look how cool it is!” Crocs do this really well. I loved their LEGO collab. Balenciaga too, I mean Crocs X Balenciaga – who wouldn’t want to see that? The anticipation almost outdoes the reality. So although the absurdity or unlikeliness seems odd, it drives the pre-release marketing and gets tongues wagging. So a sense of humour also helps.

Sometimes it is easy to be a follower. How does the licensing industry retain an element of boldness, individuality and flair in design?
The Ashmolean project is a good example of jumping the fence and going in a bold new direction. I think that came from the thought process at the start of the project. If we’d leapt straight into imagery then the visuals would’ve pushed us into a taste led exercise I think. It would look good but wouldn’t have felt new. We spend a lot of time making things look nice, which is fine, but to create something new and innovative you have to have a strong foundation.

The Ashmolean team spent a lot of time thinking about where they wanted to be in the market, what their ethos was, how that stood with their peers. This to me felt that it mitigated the risk of doing something so radical. They’d done the heavy work and had answers for anyone questioning the process. It was a thought through idea with a clear concept and vision.

Finally, what licensed products have you seen this year that have caught your eye as great examples of licensing?
A great example of what I’ve been talking about but didn’t do was the greetings range that Oh Deer did with the Natural History Museum recently. Using old archive material but adding in riso-inspired day glo colours looked fantastic and made me think “I wish I’d done that”. It respected the archive while still feeling contemporary, which is exactly the balance great heritage licensing should aim for. Well done to them, really lovely work.

Great pick! Thanks again Danny!

The post Independent creative Danny Heffer on heritage highlights with the Ashmolean Museum, The Royal Entomological Society and more appeared first on Brands Untapped.

Working at Hallmark gave me valuable experience across a wide range of products and accounts. I worked on greeting cards, gift wrap and gift presentation, while also gaining technical knowledge, such as preparing artwork files to manufacturer standards. I’ve always loved illustration and while working there I knew that one day I wanted to build my own company around my own artwork and creative style. I definitely have an entrepreneurial spirit in me and I’m always full of ideas and ambition for what the brand could become.

What factors motivated you to set up your own business and establish Sam Jayne Design?
I was mainly motivated by wanting to build something that genuinely made people feel happy. Something they could relate to. I started sharing my illustrations online and people really connected with the positive, relatable quotes and colourful style. In the beginning, it was more about creating artwork I loved and seeing where it could go naturally. A lot of the growth happened organically through social media – we’re at 64k followers now – and listening to what my audience connected with most. Over time, the business evolved into products, gifts and personalised items that reflect the same positive and cheerful feeling that the brand started with.

You have worked with Townhouse Publishing on a series of Cosy Cute colouring books. Can you tell us more about this project?
Working with Townhouse Publishing has been such an exciting project because it combines cute illustration and positivity – and most of all makes people smile. I have been commissioned to create over 15 colouring books each with different themes such as Christmas, Easter and Summer Holidays. The idea behind the books was to create something fun that helps people relax when they are colouring. There’s still more to come over the next year!

Why do you think as a nation we seem to have fallen in love with cute characters and colouring?
Because it gives us a chance to switch off from the world we live in right now and enter our own world of relaxation. Plus, I think they like colouring in cute characters because it makes them happy!

I saw your stationery and gift range – From Sam Jayne With Love – on the Robert Frederick stand at the London International Stationery Show? Can you tell us about this range and your partnership with Robert Frederick?
This has been such an exciting collaboration and a huge milestone for me as a designer! The range is all about positivity, colour and creating products that make people smile. It features cute illustrations, uplifting quotes and cheerful designs across stationery and gift products that feel fun and a little bit nostalgic. Collaborations like this are exciting because they allow my illustrations to reach new audiences that I may not necessarily have been able to reach myself.

How was the range received at the London International Stationery Show?
The range was really well received. Everyone I spoke to said how bright and eye catching it was. They also said there’s nothing like it at the moment on the market which is a positive! For me, one of the best parts was hearing that the range gave people a positive emotional reaction, because that’s always been at the heart of what I try to create through my work.

You spent time on Robert Frederick’s stand at the show. Did you find that a useful experience – being part of the team selling your own range?
It was such as proud moment! I think it’s really important to be there to represent yourself and your brand because people often engage more when they can speak directly to the designer behind the products. It was also lovely meeting customers, buyers and people within the industry face to face.

How important is it for you to spread positivity through design and product?
Spreading positivity through design and product is incredibly important, especially in the world we live in today. Life can feel overwhelming for so many people, so I love creating products that bring a little bit of happiness and encouragement into everyday life. Positive messaging has always been at the heart of my brand because I know how powerful words and visuals can be. Sometimes something as simple as a cheerful illustration or uplifting quote can genuinely change someone’s mood or make them smile during a difficult day.

Thinking about trends in stationery what are some key trends you have noticed this year? And how do you keep abreast of design trends in general?
I’ve noticed a growing trend towards more personalised and meaningful products. Customers seem to love stationery and gifts that feel unique and thoughtful. To keep up with design trends, I’m constantly observing what’s happening across retail and social media. I shop in stores, attend trade shows when I can and pay attention to what customers are naturally engaging with online. I always want my work to feel current whilst still staying true to my own illustration style and brand identity.

What else on the horizon for you design wise in 2026 and beyond?
I will be attending Harrogate Home and Gift next month – stand DP4- B16 – which is really exciting! This will be the second time I have attended the show and I’m hoping for a positive response to some new collections I will be showcasing there. I’m also really excited to see where the collaboration with Robert Frederick goes in the future. It’s been such an amazing opportunity and I’m looking forward to continuing to develop products and collections together, while reaching even wider audiences with my work.

Alongside that, I just want to keep pushing my brand forward and continue growing it year by year. My hope is that one day Sam Jayne Design becomes a much bigger nationwide brand whilst still keeping the same positivity and personality it started with.

Finally, thinking about young designers who are at University currently, what advice would you give them in regards to securing that ‘first job’?
I think one of the most important things for young designers trying to secure their first job is showing passion and enthusiasm. It’s also really important to make your work feel commercial and relevant to the market you want to work in. Retailers and companies are often looking for designs that not only look good creatively, but that customers would actually buy. I’d also say don’t be afraid to put yourself out there.

The post Sam Jayne on building her own brand – and spreading positivity through design appeared first on Brands Untapped.

One of my good friends – Rocío Cintrón, who’s an incredibly talented designer at Disney – followed the same path. She convinced me to join the toy program at FIT, and since I was already such a huge toy collector, I thought: “Yeah, why not?” It wasn’t something I originally imagined for myself, but it wound up being the perfect fit.

Terrific. And where did you work first?
After I graduated, I was at Jazwares and then I went over to Just Play. I was there for quite some time before joining The Loyal Subjects in 2024.

Does being a toy collector steer how you approach design?
Absolutely. I think it makes you a better designer because you naturally put yourself in the mindset of a collector, fan or customer buying your product. I know what details people focus on because they matter to me too – the eyes, the articulation, the softness of the fabric… Those little details really stand out to collectors.

The Loyal Subjects works with some terrific brands. How do you get to grips with an IP when creating licensed toys?
I usually start with the emotional hook – what is this product supposed to make someone feel? From there, I look at references of what’s been done, what’s out there, current trends and fan expectations. I’ll also dive into the fan community if I’m not already familiar with the product itself.

That part is really important because it helps me understand what fans actually expect. For example, I never watched M.A.S.K growing up – it just wasn’t on my radar. But once we started developing the line, I spent a lot of time exploring the fan community, looking at what collectors already had, what they were commenting on and what they wanted from us.

On the opposite end of the spectrum, I’m a huge Jem and the Holograms fan, so I naturally know what I’d want – but that’s also why it’s important to have a team around you to help keep things balanced.

Yes, I suppose one fan isn’t all fans.
Exactly. You can fall down a rabbit hole of designing too much for your own tastes. At some point you have to step back and ask: “Is this actually going to improve the product? Is it worth the added cost? Is it integral to the item’s success?” If the answer is no, then it’s probably just something you personally want to see.

When designing for fans, how do you balance creating toys with two audiences in mind – kids that will play with them, and collectors that might display them?
It’s a delicate balance of making sure it’s accessible for everyone. If it’s a $150 transforming vehicle with tons of features, you want it to look amazing on a collector’s shelf – but you also want it to be genuinely fun and playable for a child. And toys do have universal appeal – kids still want to consume everything, adults still want to consume everything – so we try to keep it cool for everyone.

What makes The Loyal Subjects an exciting place to work?
Well, for one, it’s full of creatives, from the top down. Jonathan Cathey, the owner, is a creative himself, and that was a huge draw – having a CEO who ‘speaks the language’ and really understands the toy making process. He drives the creative vision and fosters an environment where people are encouraged to think creatively and collaborate. Everyone there is genuinely passionate about what they do, and that creates a really unique energy.

What new launches are you excited about?
We’ve got a lot of exciting things coming. One is our Palworld line, which is tied to one of the biggest modern gaming franchises with a massive global player base. We’ve got a huge assortment launching this summer across collectibles, figures and plush.

On the theatrical side we have Hunger Games product launching this fall, aligning with the release of the Sunrise On The Reaping movie coming out this November. It’s a mix of fashion dolls, our stylised small figures, and micros, all spanning the entire Hunger Games universe.

Another theatrical is Angry Birds, with the third movie releasing this Christmas where we have some fun collectibles coming out. M.A.S.K continues to be huge for us. It’s such a legendary toy line with so many iconic characters and vehicles, and we’ve got a lot of fun new additions planned – more heroes, more villains and some really unique toys that I think fans are going to love.

Amazing. And you’re also developing your own IP these days too?
Yes, we have Skittens launching this fall. They’re stylish kittens inspired by streetwear culture, with really fun personalities and fashionable looks. Expect cute plush with awesome outfits and lots of character.

Are you a cat person?
I am a big cat person.

So that’s exciting for you on many fronts.
Ha, it really is!

And you mentioned you have plenty of classic brands, like M.A.S.K, Jem and Rainbow Brite. What is the balance like between retaining what people remember about a brand, while making the toy work for today?
We always look at what was done previously, and how well it was received – and we look at whether it’s a matter of honouring the past exactly as it was, or evolving it. Do we want to upgrade what was done before and reinvent it? Or is it something we’re bringing back exactly as it was and expect people to react the same way they did 30 years ago…

A lot of the time we do choose the option of going down the route of improving it or upgrading it to be a bit more modern. The 80s had a very classic look to it – we have to respect that, rather than replicating it exactly. Otherwise, it might not resonate with a younger audience.

And what would improving or modernising one of these toys look like?
It can be things like updated eyes, brighter colors, improved articulation, better materials or newer production techniques. It’s really about asking: “How do we improve this while still respecting what people loved about it originally?”

Before we wrap up, how do you fuel your creativity?
I like seeing what’s out there – whether it’s looking at classical artists or contemporary artists – or travelling. Experiencing different cultures, environments, and retail spaces can be incredibly inspiring. But honestly, I think creativity also comes down to mindset. If you stay curious and open-minded, you can find inspiration almost anywhere.

And last question! What’s The Loyal Subjects’ most underrated line?
From my time there, I’d probably say Rainbow Brite. There’s so much of that universe I would have loved to make!

Looking at TLS more broadly though, I’d say the Action Vinyls line. They were incredibly cool products and did really well for the company. I’d love to see that line come back because I think it would resonate even more with today’s collector community.

We’ll keep our eyes peeled for that! Dina, a huge thanks. Let’s tie-in again soon!

The post Dina Al Rifai – Creative Director at The Loyal Subjects –on how being a collector shapes her approach to design appeared first on Brands Untapped.