This is the space I’ve built much of my career in: identifying overlooked value and translating it into commercially relevant, contemporary propositions for retail. My grounding in this approach began during my time at CPLG, following a move from Paramount…

As you can imagine, I was used to working on a small number of priority properties, so entering a business where the archive WAS the opportunity needed a shift in thinking. What shaped this was embedding myself in the business development team: a position not typically held by a creative lead. It forced me to think beyond aesthetics and focus on outcomes. Creative wasn’t there to ‘dress’ a deal; it was there to unlock it. That meant understanding retailer behaviour, licensing constraints and trend forecasting –then using design as a strategic tool to create confidence, momentum and revenue.

The first real test of this thinking was Pink Panther. At the time, the brand had very little activity in market and almost no presence in fashion. Rather than treating that as a weakness, we treated it as a strategic advantage. With a completely clean slate at retail, we could position the brand – if handled correctly – as ownable and distinctive.

We proposed a tightly controlled creative collaboration with an emerging designer – Mimi Wade – who already had strong cultural and social relevance. Alongside this, we developed bespoke pitch materials specifically for fashion buyers. These showed not only the product but also how the brand could live within their stores. The aim was simple: remove as much risk as possible for the buyer while making the opportunity feel fresh and timely.

The collaboration generated editorial attention across key fashion titles and, more importantly, translated directly into retail interest. Zara buyers committed to the brand the following season, establishing a partnership that has continued long‑term. For me, it reinforced a belief that creative, when applied with commercial intent, can materially change the trajectory of a brand.

This thinking scaled naturally into film IP through the development of the Classic Back Catalogue Lookbook. Working closely with the Paramount team in Burbank, I identified titles such as Clueless, Mean Girls, Top Gun, Grease and Ferris Bueller’s Day Off – properties with enduring cultural relevance but often complex rights restrictions.

Rather than seeing limitations around talent imagery or key art as blockers, we reframed them as creative opportunities. What consistently resonates with fans, and increasingly with retailers, are subtle, knowing references: quotes, symbols, illustrated iconography and visual cues that reward familiarity. This ‘if you know, you know’ approach aligned well with trend‑led retail and proved particularly successful with Tomb Raider, across both film and gaming extensions.

What’s been most satisfying is seeing the long‑term impact of this work. Many of the brands that were once considered secondary or dormant are still trading successfully today. Professionally, it’s shaped how I work: starting with the end in mind. What does the consumer want? What does the retailer need? Where does the brand naturally sit within culture right now? Creative decisions only come after those questions are answered.

There’s significant untapped value still sitting in archives. Unlocking it, in the right way, remains one of the most rewarding parts of the job.

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That being the case, it makes perfect sense for London’s Science Museum to partner with CBS on a Star Trek Warp Trail. Stopping short of calling itself an exhibition, this find-it-yourself trail features props, costumes and objects from across the franchise as part of the celebrations for Star Trek at 60.

There are eight stopping-off points in the much-loved South Kensington venue. Some of these have just one item, others feature two or three or more. You can see original screen-worn costumes, for example, as well as insignia badges, energy-storage devices, medical equipment, communicators and – perhaps inevitably – a pop-up merch shop…

Naturally, the latter is populated with products from the great and good of licensing: Vanilla Underground, Running Press, Titan Books, Insight Editions, Metal Earth, Hornby and many others. There’s something to suit every budget, but there’re other reasons to visit the pop-up shop… First, you can find a couple more artefacts there! Second, this location gives you the chance to sit in a replica of the command chair from the bridge of the USS Discovery.

With all that said, where the Star Trek Warp Trail really comes into its own is the thinking behind the objects on display – and their placement in the museum! Where better, for example, than in the Engineers section to find the head of what appears to be Data, the android from Star Trek: The Next Generation? Illustrating the increasingly relevant concept of artificial intelligence, this screen-used prop is actually the head of the prototype-Data android, B-4.

For consistency, each exhibit is shown with the same layout: the rarely seen object is inside a glass case adorned by two plaques. The first explains the real-world science behind the fiction. The second then gives a little detail about the the prop and what it represents. Happily, situating the various objects throughout the museum means it’s quite easy to get distracted – and fascinated – by the innumerable non-fiction artefacts around you.

All in all, Star Trek Warp Trail is a pretty good way of capturing the attention of any fan and reminding them how much science and technology drive the franchise. As Dr. Glyn Morgan, Head of Collections and Principal Curator at the Science Museum, puts it: “Star Trek has invited audiences to be curious explorers for decades. That’s a mission we know something about at the Science Museum…”

Morgan continues: “As a cultural phenomenon, Star Trek, has played a real role in changing the world of STEM… From inspiring technical innovations to encouraging a generation of modern astronauts. I hope this Star Trek at 60 programme at the Science Museum inspires visitors to consider what might be possible if you boldly go where no one has gone before.”

Star Trek Warp Trail runs until September 2026. There’s also an opportunity to see all 13 Star Trek feature films in the Science Museum’s IMAX theatre. Not back-to-back, though… That would be insane! For more details, visit the museum website here.

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Highlander: The Original Screenplay – Titan Comics
“There can be only one!” That’s the fatalistic mantra – and tagline – of the 80s’ film sensation Highlander. But when it comes the number of screenplays the project saw before completion, it’s not at all fitting!

Indeed, the movie that reached screens in 1986 is said to be significantly different from Gregory Widen’s original, darker and more nuanced screenplay. There’s no need to take my word for it, though: Titan Comics is set to present a lavishly illustrated graphic novel based on the writer’s earlier vision…

Slated for release in November – to help celebrate the first movie’s 40th anniversary – Highlander: The Original Screenplay boasts an impressive team… Highlander writer Gregory Widen, and top comic artist Szymon Kudranski. The graphic novel is sure to re-awaken interest in the franchise ahead of the upcoming movie reboot starring Henry Cavill, Russell Crowe and Dave Bautista.

With 128 printed pages, this volume presents the Highlander story as it’s never been seen before! The tome features illustrated scenes from Widen’s original drafts which didn’t make it to the screen.

Star Wars Icons: Vader – Insight Editions
“This will be a day long remembered…” That Darth Vader quote will surely prove more true on July 7th this year than it did the day it was filmed 50 years earlier! That’s because it’s the date on which Insight Editions releases Star Wars Icons: Vader…

An absolutely massive work, Vader is the latest in the line of the publisher’s fan-favorite Star Wars books. Earlier titles include Star Wars: Jedi Artifacts, Star Wars: The Secrets of the Sith, Star Wars: The Lightsaber Collection, and Star Wars Icons: Han Solo. With that said, could any Star Wars title be more highly anticipated than a release around its most iconic character?

So what has author Anthony Breznican put between the covers? Star Wars Icons: Vader examines the character’s entire journey… From his development in early story drafts to Anakin Skywalker’s falling into a lava river and conversion to the dark side… Learning, burning, turning – and more!

Promising to give readers a comprehensive and revelatory look at the Sith Lord, the book covers Star Wars films, TV appearances, novels, comics, video games, and beyond. To say Insight Editions has created a treasure trove understates the case. This deluxe volume is clearly a labour of love. At 492 printed pages, it’s absolutely packed with content both rich and rare. This includes concept art, on-set photos, collectible inserts and exclusive interviews.

Marilyn Monroe 100 – ACC Art Books
“I am not interested in money. I just want to be wonderful.” Moving from one icon to another, it might surprise readers to discover that 2026 marks the hundredth year since the birth of Marilyn Monroe. With that in mind, it was a pleasure to see a wall of copies of Marilyn Monroe 100 on the ACC Art Books stand at London Book Fair.

Already home to other Marilyn titles, ACC Art Books here gives us the only official publication to celebrate the centenary of the icon’s birth. Created in association with the Marilyn Monroe Estate itself, this is a stunning work. Sumptuous and engaging from the very start, it brings together specially curated sections of work by the many great photographers who collaborated with Monroe…

While André de Dienes, Joseph Jasgur and Bernard of Hollywood unveil early images of Norma Jeane, John Florea and Philippe Halsman showcase the aspiring actress’s publicity shots. Eve Arnold, Elliott Erwitt, Bruce Davidson and Henri Cartier-Bresson capture Marilyn on the sets of some of her most famous films. Meanwhile Cecil Beaton, Richard Avedon, Alfred Eisenstaedt, Sam Shaw, George Barris and Milton Greene offer a mix of beauty and candour.

Finally, Marilyn Monroe 100 ends with Bert Stern’s famous ‘Last Sitting’ – along with newly rediscovered images of Allan Grant’s Life magazine shoot published two days before the star’s untimely passing.

Complementing the extraordinary images are quotes attributed to Monroe herself. Elsewhere, you’ll find text by scholars and admirers that chronicles Monrie’s trailblazing life Contributing writers include designer Christian Siriano, cultural critic Rachel Syme, photographic preservationist David Wills and journalist Louie Conway.

Piece of Us – Insight Editions
“If you want to get crazy, we can get crazy!” Well, crazy is one way to describe Jordan Peele’s groundbreaking 2016 horror film, Us. Another is absolutely petrifying! Full of surreal, chilling and challenging imagery, Us galvanised Peele’s reputation as a uniquely interesting filmmaker.

Pieces of Us Is one of those stunningly bold books that aims to find a niche audience within a niche audience. It presents production insights, storyboards and behind-the-scenes detail from the film in magnificent quality. While it’s hard to picture quite who would forever have this sitting on the coffee table at home – Billy Langsworthy aside – Us fans will relish this glimpse at the man behind the curtain.

As always seems to be the case with licensed releases from Insight Editions, Pieces of Us is hefty and stunning. With 128 printed pages, the book boasts exclusive content – including interviews with Jordan Peele and other key creatives.

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Don’t know it? That’s not entirely surprising! While the property just turned 65 this year, it’s not widely known on the UK side of the pond… Sadly, it also hasn’t been shown a whole lot of licensing love in its native US either. Largely existing on the pages of Mad Magazine, the basic idea is simple, timeless – and fun!

In a nutshell, two pointy-faced, monochrome spies pit themselves against each other, endlessly and wordlessly. First appearing in 1961, the comic strip has routinely shown the two enemies in their foolish feud ever since. Month in, month out, the audience watches the two agents engage in espionage that’s mostly just designed to do the other down!

As a result, we witness an endless battle of booby traps, wits and wiles. Sometimes one wins, sometimes the other wins – and sometimes it’s not entirely clear if anyone’s won! Nevertheless, Spy vs Spy is always funny and creative.

First developed to parody the stresses of the Cold War, the cult strip is the creation of Cuban-born cartoonist Antonio Prohías. The characters made their debut in Mad #60, on January 1st, 1961 – so the IP is certainly no spring chicken. Perhaps that helps explain the only occasional appearance of the characters outside the pages of Mad… Quite what it would’ve taken to make them breakout characters with their own devoted audience we may never know! I’ve always felt, though, that the potential was there for the adversarial agents to flourish alone…

It’s not as if this would’ve been unheard of. Even at the time of the spies’ debut, several comic-strip characters had begun to garner attention and affection away from the pages that introduced them… To name just a few, Snoopy, Popeye and The Smurfs all began as somewhat secondary characters.

Away from the pages of Mad, Spy vs Spy has found a small market for trading cards and faithful figurines. But in terms of other media, it’s relatively slim pickings – although the so-called dynamite duo appeared regularly in animated segments of the Mad TV series…

Running from September 6th, 2010, to December 2nd, 2013, there are 103 episodes. Each one features the spies in their own short sketch. Sadly, the emphasis here is firmly on the word short: each section lasts somewhere in the neighbourhood of 20 to 30 seconds. It’s a welcome addition to the canon – but a little has to go a long way with that running time!

Back in 1999, though, rumours suggested the two spies would be coming to the big screen in feature-film format. Indeed, Warner Bros. favourite James Gunn got so far as writing a live-action screenplay. Gunn himself confirmed this, adding that Jay Roach was slated to direct – and that both Nicolas Cage and Eddie Murphy were to have starred…

Alas, Warner Bros. and Gunn instead turned their attention to the live-action Scooby-Doo franchise. Fun though those movies were, it left Spy vs Spy fans out in the cold until 2011. It was then that Hollywood hero Ron Howard was said to be attached to a new adaptation.

Developed through Howard and Brian Grazer’s own company, Imagine Entertainment, this version saw John Kamps penning the script under David Koepp’s watchful eye. Despite enthusiastically being described as a “highly visual action comedy” this project also stalled – and remains so today. There appear to be no current plans to bring the property to the big screen.

Elsewhere, the Spy vs Spy characters HAVE featured on screen in computer and video games. Originally published for the Commodore 64 in 1984, the first Spy vs Spy was a one-or-two-player, split-screen action game. As ever, the characters set about doing each other down with their madcap antics, traps and weapons.

Considered a critical and commercial success, the game had two sequels: 1985’s Spy vs Spy II: The Island Caper, and 1986’s Spy vs Spy III: Arctic Antics. An iOS remake of the original got a 2012 release but is sadly no longer available, although a 3D remaster was released for Xbox and PlayStation in 2005.

Today, licensing deals for this brand are thin on the ground to the point of invisibility! Yes, the drinks company Mountain Dew had an advertising partnership with them in 2004. Meanwhile, contemporary animations have featured the spies… Robot Chicken and Family Guy both have episodes that show the characters – but in little more than homages and cameos.

One official product worth mentioning did come to fruition in 1986, however: The Spy vs Spy Board Game. This Milton Bradley release was created by the now-legendary designer Michael Gray. You can read more about him in his interview on our sister site here.

To win, you had to lay tiles to build tunnels. This let you collect and steal bombs… If they didn’t go off, you then took these back to your base. The bombs hid different actions on their bases, allowing you to take a free turn, move a bomb or remove a tile and so on. While delicious in appearance – and very creative – this execution of the IP didn’t quite capture enough of the cartoon’s spirit for some fans… It would be wonderful to see a Spy vs Spy board game that lets you set traps and get revenge!

In 2008, Puma and Boston-based store Bodega created a bold addition to the Spy vs Spy catalogue… Renaming the Sky II Hi ‘the Spy II Hi’, the collab comprised of striking black and white sneakers with special features… Hidden pockets, dynamite tags, bullet holes and a message in Morse Code brought a playful feel to the endeavour.

Finally, since the vinyl figures once issued by DC Comics don’t appear to be available at the time of writing, what can fans jump online and buy right now? Well, discerning hosiery wearers can turn to Sock Panda to keep their feet stylish. Similarly, you can also find cufflinks on the Polish website Ceneo… Elsewhere, Logoshirt offers men’s and women’s T-shirts in a classic-looking design.

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Since the dawn of modern fandom, licensing and merchandising have evolved from pure revenue drivers into fully-fledged engagement ecosystems. The model – often visualised as concentric circles radiating from the passionate superfan at the centre – reminds IP owners that nurturing the core keeps the whole community alive. Take care of your superfans, and the rest will follow, as each layer aspires to that ambassadorial status.

But superfans aren’t just consumers; they’re collaborators. As active participants in a franchise’s trajectory, they help sustain enthusiasm across the wider fanbase through their creative output, shared expertise and social energy.

Creative output is the purest expression of fandom. Visit any convention and you’ll find artists and custom action-figure makers selling their creations to fellow fans. Fan fiction, meanwhile, has long expanded fictional universes and given a voice to under-represented communities. This creative output naturally leads to commercial expression – the moment when fandom and entrepreneurship collide.

“As fandom fragments into smaller, more passionate factions, products and experiences become ever more powerful touchpoints.”

Pivot to the live-music scene and you’ll find a parallel story. Driven by rising ticket prices and reduced accessibility, tribute bands have never been more popular – and many even sell their own increasingly sophisticated merch at gigs.

Which raises an important question: how can fan creators generate revenue from their passion, while respecting and protecting the IP of brand owners? Some entertainment companies already manage this balance carefully.

Within the Star Wars universe, Lucasfilm and Disney have established clear guidelines to support fans while maintaining control of their IP and trademarks. Fan films, videos, and artwork are permitted provided they are non-commercial and clearly marked as ‘fan-made.’ Logos, character likenesses, or anything implying official endorsement remain strictly off-limits. Cosplay communities are likewise encouraged to thrive – so long as they stay true to these same guardrails.

Few have embraced fan-driven commerce more wholeheartedly than The Grateful Dead. Since the 1960s, fans have travelled with the band on tour by creating and selling handmade merchandise. Today, that grassroots spirit lives on through Shakedown Street – an organised marketplace at every show – where some vendors have even become official licensees, gaining the benefits of formal brand association.

As fandom fragments into smaller, more passionate factions, products and experiences become ever more powerful touchpoints. Here’s how rights owners can support fan commerce while protecting their IP:

• Enable micro-licensing: Allow limited fan production (up to X units) under clear rules to unleash creativity and extend reach with minimal risk.
• Publish transparent guidelines: Make fan-merch rules public to avoid ambiguity and build trust.
• Protect brand integrity: Enforce caps, disclaimers and design standards so fan products complement rather than compete.
• Leverage community energy: Empower fans as micro-licensees and advocates – building authenticity, loyalty and long-term engagement.
• Introduce tiered models: Offer a step-up path from non-commercial fan creation to formal licensing as projects scale.

Ignoring or policing the issue isn’t a solution. The future of brand engagement will be defined by a simple truth: by the fans, for the fans.

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A perspective shift for me has come from attending these fairs standless, as a visitor rather than an exhibitor. It’s a subtle but significant change in mindset, and one that immediately alters how you experience the show floor. Without the pressures of being on a stand you’re free to observe more closely, nosey around and notice the conversations happening between the aisles rather than on the stands themselves. That change in position brings certain issues into sharper focus, many of which I hear recurring in conversations across the industry.

One of the most prominent is the ongoing debate around the value the design industry brings to trade fairs. Designers and creative studios are intrinsic to this ecosystem – we provide the creative spark that fuels product development, brand storytelling and, ultimately, commercial success. Our ideas are the inspiration behind much of what is being showcased, licensed and sold on the show floor.

What becomes clear when attending as a visitor is that creative businesses are not peripheral to these fairs – they are actively sought out. Exhibitors want fresh thinking, new perspectives and partners who can help their brands evolve. The demand for design expertise is there, sometimes more so than the infrastructure currently reflects. I certainly feel like a poor cousin, as a one-man agency I’ll never have the budget to take a stand – so for me, I’d really like the fairs to actively showcase our wares and recognise our value. Brands Untapped and Mojo Nation have been leaders in this respect so hats off to them, but I’d really like to see some support from the fairs themselves.

“I saw a strong lean into acid bright, neon colourways.”

For one, I’d really appreciate some simple stuff like meeting areas and decent Wi-Fi. Everyone needs this surely? Olympia was a real struggle this year. After the comparative luxury of ExCel’s main street it felt like Olympia was really under provided. It’s a delicate balance, I get that we’re seen as small fry and don’t have the budgets but we are a vital bit of the fair experience.

Getting off my soapbox, I jumped in the car and headed up the M5 to a wintry NEC for this year’s Spring Fair. I’ve been doing a lot of work recently in the heritage sector and I was on the lookout for some trend inspiration.

The first obvious thing to jump out was how much Kawaii character was on show. I’ve heard some say the fad is over but to me it feels like it’s just getting started. With so much in the market I think the cream will start to rise to the top quite soon. There’s a lot of generic character brands out there and little that stand out as unique. What Japan does well is give birth to the niche and unusual. Gudetama is a good example of this. An egg. That’s it. It’s funny, cute and quirky and stands out in a crowded field. For these brands to have longevity the need to carve a niche for themselves.

The second thing I noticed was the increase in Mental Health as a product feature. It’s starting to become used in lots of different ways, from comforting plush to board gaming. From a design perspective, it’s interesting to see how designers represent ‘feelings’ in design. It often comes down to creating a design language that represents emotion.

As an aside, I was in a revamped Holland & Barrett store in Cardiff recently. They’d created a whole language of shapes and symbols to work with their wellbeing products. This carried through from store design to shelf labelling. Nicely done, go check it out!

Thirdly I saw a strong lean into acid bright, neon colourways. I think, derived from the recent trend for Risograph printing. The V&A had a really interesting and fresh take on their Victorian pattern archive, replacing traditional colour with some eye-popping new colourways. It looked fantastic and I loved the design thinking behind it. Reusing existing assets in fresh ways is budget friendly and an excellent way of expanding a range.

“The demand for design expertise is there, sometimes more so than the infrastructure currently reflects.”

Passing the Oh Deer stand, I leafed through the Natural History Museum’s new range of riso-inspired cards and prints. Again, day-glo colour applied to older retro prints. It looked roarsome. By working in this way, the V&A and NHM are opening up new markets and new audiences by giving their products the zip and zing to be able to compete with modern design ranges. They can retail in much broader stores and bring a cooler, younger audience in. Good stuff for everyone.

Lastly, an under reviewed subject but for me the most important, The Cornish Pasty co. won catering stars for a hot sausage roll I scoffed, sat on the floor – again! – in between meetings. So much tastier than a freezing cold avocado wrap. Hooray for the NEC. And with that, covered in crumbs and shining slightly from the grease I stepped back out into the sleet and snow and headed home. Shows done. For another year…

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Take the most recent UK series, for instance. Primarily filmed at Ardross Castle in the Scottish Highlands – as is the US version – the show obviously makes a huge and immediate impact on the local economy during production. But independent research commissioned by Screen Scotland shows the industry’s economic contribution extends well beyond filming… You can hear more about that report here.

By way of example, Google reports a 55% increase in searches for ‘Flights to Scotland’ during transmission of the latest UK series. Meanwhile, Trainline reports a 69% increase in bookings to Inverness – the nearest city to Ardross Castle – since filming began. Elsewhere, The Traitors has led to more subtle and surprising returns…

Aldi Scotland reveals that the show gave a 30% boost in sales for its own-brand Ginger Juice Shots in the first three weeks of January this year… Why? Simply because one of 2026’s contestants, Stephen Libby, was seen drinking a similar concoction on screen.

Similarly, the same series saw a huge boost in sales around another contestant. Crime novelist Harriet Tyce’s book sales surged by over 95% following her appearance on the show. These thrillers – including the aptly titled The Lies You Told, and the less apt but nevertheless tantalising Blood Orange – increased by 95.6% week-on-week after her debut. Meanwhile, Tyce’s upcoming book, Witch Trial, arrived in amazon’s top 10 with comparative ease.

In the world of fashion, host Claudia Winkleman’s appearance has a huge effect on clothing sales. Flawlessly styled by Sinead McKeefry, Winkleman’s look – described as ‘Highlands-meets-goth-glam’ – includes Tartan shirts, designer coats, fingerless gloves and baggy jumpers. While Winkleman deprecates her own appearance with an easy charm – “I’m a tiny orange lady, and my fringe is too long” – she nevertheless remains something of an icon. Brands including Brora, Spanx and Holland Cooper all confirm Winkleman’s style sells quickly in the wake of appearances by primetime’s dark-eyed doyen.

This is true to the extent that Grazia magazine this year listed every single one of Winkleman’s fourth-season outfits. Quite why she hasn’t launched her own clothing label is something a mystery, but if you want to follow in her footsteps, you can start the journey here.

It’s worth remembering, too, that even sales of Claudia Winkleman’s preferred brand of eyeliner rocketed when make-up artist Lucy Gibson revealed its name… Rimmel Scandaleyes Waterproof Kohl in Black, in case you’re wondering.

Finally, specialist retailers including Pen Heaven report the most obscure of sales boosts following transmission… A 25% increase in the sales of quills. Yes –traditional feather quills. It seems that viewers are inspired by watching the treachery in the turret as the antagonists dip the ink and do their deeds with archaic writing tools. The so-called Traitors Effect has also boosted interest in wax seals and old-fashioned letter writing. And if all that sounds a bit much to you, consider this: you can also buy ‘cheat quills’… Feather quills with a ballpoint ink chamber hidden inside.

Told of the far-reaching consequences of the Traitors Effect, Jason Easy – VP Licensing (Sales) at All3Media International told Brands Untapped: “The Traitors has entered into our cultural consciousness in a remarkable way. We knew from the start audiences would want to play the game… This has been evident with the official board and card games becoming best sellers, and The Traitors Live Experience proving a huge hit.”

Jason continued: “As well as a clear appetite for gameplay, it’s brilliant to follow how audiences are seeking out ways to immerse themselves in the wider universe of The Traitors. We’re thrilled to have signed numerous licensing deals across various categories to meet this demand from consumers and retailers and to allow faithful fans to fully bring The Traitors to life off-screen.”

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The spectacular 2026 tour seemed to arrive in the UK with a little less fanfare than usual. But with two venues, seven shows and countless thrills already under its fan belt, what can people expect to see when the tour continues in the spring?

For the uninitiated, the show name – Glow-N-Fire – hides as much as it teases… What’s glowing? What’s on fire?! Well, the spoiler-free answer to the former is “giant toy trucks…” As always, these trucks are stunning, even if you have neither phil nor phobe for souped-up cars and revved-up engines. Indeed, the scale, colour and sound of the show all hit you like – well, a truck. This year, the lineup includes fan favourites such as Bone Shaker, Mega Wrex and Tiger Shark… These are joined by a new vehicle, the punningly named Rhinomite.

Rhinomite – a portmanteau of rhinoceros and dynamite – has existed as a toy since 2021. Executed in remote control as well as die-cast collectibles, upscaling Rhinomite for the 2026 show is a masterstroke. The character has a playful energy that perfectly compliments the otherwise snarling design… Seeing this horned hot rod join the fray is a joy.

In terms of the show content, it’s business as unusual. After their ever-zealous introductions, the monstrous monster trucks truck in to do their astounding stuff in various rounds… Off they go, performing their doughnuts and wheelies and jumps – oh my! Indeed, the vehicles seem to clamber, thrill and defy gravity in every way imaginable as the arena crackles with energy and – challengingly for some – ambient noise.

The 2026 Monster Truck show has already held audiences in its thrall at arenas in Manchester and London. However, you can still see and hear what all the fuss is about in Leeds on March 28-29th, Liverpool on April 4-5th and Birmingham on April 11-12th.

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Somewhat surprisingly, amazon has simply resurrected their 2023 ad in which three old dears toboggan down a hill. Marks & Spencer have brought Dawn French back for the fifth consecutive year. It wouldn’t surprise me if it was the comedian’s last outing, however, following something of a backlash in the wake of some highly questionable comments. Perhaps M&S might be looking for a license that can’t put a foot wrong next year.

In terms of this year’s ads that feature licensed characters, there are three notable efforts to spotlight – plus an honourable mention for Aldi’s Kevin the Carrot… Much as I’ve come to despise the appalling scansion in these adverts, the character does seem beloved by the nation. That being the case, it’s the first ad I look at below…

Aldi – Kevin the Carrot
I’m not sure at what point Kevin the Carrot became a brand in his own right. This is the tenth year, though – yes, the tenth – that we’ve had an update on the ongoing goings on in the life of this particular vegetable. 2025 puts Kevin on his stag do in an advert that doesn’t showcase Aldi’s products particularly well… But that’s never really the point, is it? If you’ve enjoyed the previous nine adverts, I’m sure you’ll love this. It all ends on something of a cliffhanger, but the second instalment follows soon.

Asda – A Very Merry Grinchmas
The Grinch appears to be in unusually good spirits in Asda’s 2025 offering. No small amount of love and effort have gone into this and – as far as I can make out – it’s refreshingly low on CGI. Cheerful and pacey, the advert really makes the most of its license. While it’s difficult to expunge the memory of Jim Carrey in a near-identical get up 25 years ago, Asda does well not to let the central performance overshadow the production. Ultimately, it’s a fantastic advert that brilliantly showcases a licensed character.

Sainsbury’s – The BFG
From the word go, this looked to me like it had David Borne’s fingerprints on it – and that soon proved to be the case. As most of us know, The Big Friendly Giant is a much-loved Roald Dahl creation. Here, the huge character appears on the small screen in a pretty faithful interpretation of Quentin Blake’s original illustrations. While there is something a tiny bit snaggy in the animation, the one-and-a-half-minute piece wins points. How? By eschewing the mawkish tone that so many Christmas ads tend to have. Instead, Sainsbury’s mainly plays it for laughs in a busy, plot-driven ad.

Barbour – Wallace & Gromit
In something of a paradox, Wallace & Gromit more or less show that less is more in 90 seconds of unadulterated joy… On the one hand is the more: the sheer vastness of the effort it takes to make this kind of animation. On the other hand is the less! Unfettered by a supermarket’s need to show off a range of products, Aardman can just let Wallace and Gromit do what they do best… Gentle British humour with a simple plot, funny gags, whacky inventions – and the endless charm of the characters. Critically, it’s the only ad that actually made me want to go shopping!

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I’d visited once before, back in 2007 – a fleeting trip with an apparel licensee, whizzing through Shenzhen to the outskirts of Guangzhou to inspect factories. It was thrilling to cross the land border and pass from a small cluster of skyscrapers into the countryside, but I was struck by the chaotic rural life and the casual approach to worker health and safety.

Fast-forward to 2025 and my earlier impressions now feel like snapshots from another era. In many ways, that experience symbolises how dramatically China has evolved – moving swiftly from market imitation to category innovation, and now to the threshold of global leadership.

Before fully appreciating everything China has become, I first had to unlearn the biases – both conscious and unconscious – shaped by headlines portraying it as a geopolitical threat.

From the outside, China is viewed through a prism of admiration and anxiety: an awe-inspiring economic powerhouse that simultaneously challenges Western ideas about democracy, privacy and progress.

Headlines celebrate its speed and scale – the AI breakthroughs, the EV revolution, the seamless digital ecosystems – but they’re often tempered by caveats about surveillance, state control or rivalry. It’s a narrative of power and caution in equal measure.

What’s missing from those narratives is the nuance – the quiet coexistence of old and new, of heritage and high tech, that you feel so powerfully when you’re there. The temples beside data centres. The visitors to the Forbidden City dressed in imperial cosplay. The belief that progress and tradition don’t compete – they complete each other.

Symbolised by the dragon and phoenix, by yin and yang, it’s this ability to embrace contradictions comfortably that makes China so compelling – and so difficult to define through a Western lens that seeks to compartmentalise.

For those of us in branding, retail and consumer insight, understanding that duality is essential. Because the future of global markets may well be written in the same language: a fusion of culture, technology, and emotion.

China’s Culture of Comfortable Contradiction
One of the most striking takeaways from my recent trip was how effortlessly China embraces contradiction.

You see it everywhere: cutting-edge AI powering hyper-efficient cities just streets away from temples where incense burns as it has for centuries. A generation fluent in Douyin – the local version of TikTok – still gathers with family at tiny restaurants tucked away in Beijing’s hutongs.

Rather than seeing these contrasts as tension, China treats them as harmony – an ecosystem where tradition and innovation co-exist and strengthen each other. It arguably even fuels the country’s relentless 9-9-6 work ethic – 9am to 9pm, six days a week.

Colour and symbolism are everywhere, offering outsiders a glimpse into the cultural code. Red signifies luck; yellow, imperial power; blue, heaven. A square represents the Earth, a circle the sky. Centrality equates to prosperity – a concept that resonates when governing 1.4 billion people. Even the iconic lion embodies this duality – its open mouth attracts fortune, while its rounded form retains wealth.

“Across culture, technology, and retail, one theme runs through everything I saw in China: integration.”

In youth culture, Beijing and Shenzhen buzz with energy – young people defining their own subcultures. Western influences are evident in fashion, music and media. Luxury brands abound, Wednesday-inspired goth fashion has a following, and while tattoos and piercings are less common than in the West, some embrace edgier styles.

Yet what’s most striking is that, unlike in many other markets, Chinese youth aren’t rejecting their parents’ values. They’re blending modern expression with deep-rooted respect – for elders, for study and for success.

For brands, it’s a powerful reminder: the future of relevance isn’t about choosing between old and new – it’s about finding meaning in both. On the final day of my trip, as I shared reflections on Chinese culture, one of our wonderful hosts leaned in and said: “I’m fascinated by what fascinates you about us.”

Groundbreaking High Tech
If there’s one word that defines China’s relationship with technology, it’s acceleration.

The central focus of our trip was to witness first-hand the rapid deployment of high tech across every sector. ‘Technology is the answer’ was a recurring theme from the executives we met – whether in the development of humanoid robotics to address an ageing population, the infusion of AI to improve convenience and reduce congestion, or – more surprisingly, given Western media narratives – the green revolution and electrification of transport. The impact is visible and tangible in daily life.

Robots in manufacturing and service industries aren’t unique to China, but the nation’s push into humanoid robotics is starting to pay off. According to the team at Astribot, widespread deployment remains a few years away – likely around 2030 – as the processing power and actuators required for natural human movement near readiness.

Equally striking was the rapid electrification of China’s roads. Supported by strong government incentives, the automotive industry has produced an unprecedented wave of electric vehicles. Unlike many overseas competitors, Chinese EVs combine digital lifestyle integration, premiumisation, and affordability – appealing even to the most sceptical petrolheads.

The specs of Xiaomi’s new SU7 Ultra are astonishing: 0 to 100 km/h in 1.98 seconds, 1,548 bhp, a 620 km range, and a 15-minute full charge – all at the price of a standard European model. It’s no wonder BYD is now the fastest-growing car brand in the UK.

Meanwhile, progress in Low Altitude Mobility – once pure science fiction – is fast becoming reality. Our visit to eHang showcased the future of autonomous passenger drones. Imagine skipping the Uber from Heathrow to central London and gliding above the traffic instead. The Chinese Civil Aviation Authority and eHang are already rewriting the rulebook to bring this vision to life for both people and cargo.

And then there’s AI – the great enabler of this high-tech revolution. Across China, AI isn’t futuristic; it’s everyday. Palm payments, AI customer service agents, autonomous delivery vehicles – all operating at scale, not in pilot mode. AI teaching assistants mark homework and identify classroom-wide learning gaps. Smart traffic systems anticipate congestion after major public events. Financial services giant Ping An uses AI agents in human form to process car insurance claims – reducing average payout times to just 25 minutes.

What stood out most wasn’t just the pace of adoption, but the mindset behind it. Innovation isn’t seen as disruption – it’s progress through integration, designed for the betterment of society. Data, design, and decision-making operate in harmony, powered by a national ambition to lead, not follow.

For brands, it’s a glimpse of the future: a market where consumers expect technology to anticipate their needs, personalise their experiences, and remove friction from everyday life. It left me wondering – how long before this becomes the global standard for convenience and connection?

Hyper-Consumer-Centric Retail: Where Data Meets Desire
If technology is China’s engine, the consumer is its compass. Every interaction – online, in-store, or in the metaverse – is shaped around the individual. The integration between physical and digital retail isn’t a buzzword here; it’s reality. From flagship stores in Beijing to the street markets of Shenzhen, service and convenience are the twin pillars of this market economy.

Take, for example, the beautiful and deliberate emptiness of the Canada Goose and Gentle Monster stores. Their museum-like interiors and attentive service elevate status to experience. At Canada Goose, customers can even test new coats inside a sub-zero snow room to feel the performance first-hand.

Every brand-worthy store extends its experience into café culture – a coffee, tea, or juice bar attached to the retail space. You want to wear the brand and also eat and drink it too. This segues perfectly into the world of collaborations.

China feels like the epicentre of brands and experiences colliding. Local brands team up with Western partners (Expensive Taste × Saucony); fashion retailers link with bars and restaurants (Bape × Commune); and digital-only Luckin Coffee celebrates Tencent’s Honor of Kings – the world’s highest-grossing mobile game – with a limited-edition release.

These collaborations are part of a relentless experimentation cycle designed to surprise and delight consumers in the never-ending quest to cut through the noise.

China’s mobile commerce ecosystem is dominated by two super apps – Alipay (Alibaba) and WeChat (Tencent) – enabling an almost cashless existence. Within them, mini-apps power everything: transport, translation, loans, utilities, groceries and food delivery – a one-stop digital life.

My personal highlight was experiencing drone delivery in Shenzhen via Meituan. With a tap, I ordered food that was airlifted from the store and delivered to a nearby kiosk within minutes. The drone landed on the roof, unloaded my order, and I retrieved it by scanning a code. A modern marvel – convenience literally taking flight.

The lesson for global brands? Convenience alone isn’t enough. Consumers want relevance, recognition, and reward – all in real time.

China shows how insight-led design and agile retail ecosystems can transform data into desire. It’s both inspiring – and a little humbling – to see how far ahead some of these models already are.

The Future in Balance
Across culture, technology, and retail, one theme runs through everything I saw in China: integration. Tradition with innovation. Data with emotion. Speed with purpose.

It’s easy to view China through the lens of rivalry or difference, but spending time there changes that perspective. What emerges is a vision of progress that isn’t about competing systems – it’s about complementary strengths.

China shows what’s possible when ambition and scale align. The West brings creativity, ethics and open debate. If those forces ever truly met – speed with safeguards, pragmatism with principles – the outcome wouldn’t just be better business. It would be a better world.

Because the future doesn’t belong to one culture or another – it belongs to collaboration.

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