Ian talked to his former colleagues about some of their recollections about licensing from the time they worked together and got their insights into some key licensing topics of the moment.

CPL was eventually absorbed into the WildBrain group of companies, while Andrew, Simon and Daniel went on to have very successful careers in licensing across a range of different roles and companies.

“The most progressive brand owners see licensing as a strategic growth platform.”

Guys, it’s great to catch up. Andrew, at CPL you worked extensively on deals with FMCG companies. How would you ‘sell in’ the benefits a character brand to supermarkets today?
Andrew Levy, Founder & Director, Ateliers Verts: Some sectors are driven by characters, like the celebration cake sector, where a ‘hot’ character will help drive sales. Supermarkets are always looking at ways to increase margins. If you can add a character to a product and demonstrate that sales and distribution should increase, as well as margins, it’s a win-win. The trick is to use a character whose equities match the product and not just perform a label-slapping exercise… Think Spider-Man Squirty Cream cans!

Simon, you spent a lot of time working on licensed promotions and partnerships. What makes a ‘good partnership’ in licensing terms? And has this changed over the years?
Simon Gresswell, Founder, SGLP: The simple answer is that it’s a win win where objectives are targeted and achieved for all parties – but that’s hard to accomplish in commercial reality… Especially when ‘all’ means IP owner, agent or CP department, licensees or branded partner and critically the retailer – be that online, scomm/ecomm, B&M or other channel… Or activated via apparel, grocery, department, fuel, banking, hospitality, travel, value or the myriad of other retail sectors.

I don’t think core objectives for both parties have changed necessarily, but licensors and agents have – or should have – become more sophisticated, using key data as a basis for an approach or pitch, and focusing on client objectives driving everything from the cold call onwards. Licensed partnerships in sport definitely demand more demonstrable ROI, value and fan growth, and are more akin to sponsorship than before.

Daniel, what makes for a successful collaboration in your opinion?
Daniel Avener, Founder, Magic Hat: The best collaborations never feel forced. Consumers are incredibly sophisticated today and can immediately recognise when two brands have come together simply to create publicity. The collaborations that resonate are those where both brands share authentic values, complementary audiences and a genuine reason for existing together.

“Licensors and agents have – or should have – become more sophisticated, using key data as a basis for an approach or pitch.”

I always look at three things… Is there genuine strategic and cultural alignment? Does each partner bring something meaningful that the other doesn’t have? Will the collaboration create something that neither brand could have achieved independently?

The commercial model is obviously important, but successful collaborations are ultimately built on trust, shared ambition and a commitment to creating genuine consumer value. The best collaborations don’t simply generate headlines – they create memorable consumer experiences, strengthen both brands and often become long-term partnerships rather than one-off campaigns.

You have worked a lot with brands and brand owners. Do you think brand owners ‘trust’ the licensing model more these days? Should more brands be thinking about licensing?
Daniel: Absolutely, but I think the conversation has evolved. Historically, licensing was often viewed simply as a royalty-generating exercise. Today, the most progressive brand owners see it as a strategic growth platform. When executed well, licensing enables brands to enter new categories, reach new audiences, increase cultural relevance and generate incremental revenue without the operational burden of manufacturing and distribution.

The brands achieving the greatest success today don’t ask, “What can we put our logo on?” They ask, “Where does our brand have the permission to exist?” That shift in thinking is fundamental.

Trust has also grown because there are now far more examples of licensing creating genuine enterprise value rather than simply generating short-term income. The strongest programmes are highly curated, strategically managed and relentlessly focused on protecting long-term brand equity.

So yes, I absolutely believe more brands should be thinking about licensing – but only if it’s approached as a long-term strategic capability rather than a tactical commercial exercise.

When we worked together at CPL there was a lot of emphasise on ‘new business’ and opening up fresh categories for licensing. What categories do you think are ripe for development in terms of licensed promotions in today’s market?
Simon: Well, I’m biased here as my time after CPL with The Continuity Company – now TCC Global – was one of the most enjoyable in my career. We created IP-based concepts for collectible loyalty promotions, while simultaneously negotiating the rights or options and then developing the product, marketing and comms behind each one. Although these programmes have thrived in various markets, there is still room for more and better programs based on established, prestigious IP.

I was proud and fortunate to work with lots of National Football Federations, where I was bringing them new opportunities and new revenue streams. That said, in sport I still don’t these types of licensed promotions have been maximised, due to rights constraints and old-fashioned thinking in some cases. With ‘new’ retail sectors in play, more could be done in this area, with greater reach and revenue as a result – and without negatively affecting the sponsorship landscape.

What examples from your early days in licensed promotions could we learn lessons from and build on in 2026?
Simon: Two areas spring to mind. Firstly, the early days of experiential here in the UK. My former CPL colleagues may not want to remember the doomed IP that was Scavengers… A senior exec from a big leisure group and I travelled quite some distance during both our holidays in order to see a pilot in production at Pinewood, that we and they knew far too little about! Net result, you can guess… No cigar! Integration and immersion of potential partners is crucial as early as possible – and better concepts!

“We had to make design boards by hand back in the day and now AI can do it in seconds.”

Secondly, referred to as ‘clip licensing’ or ‘licensed ad campaigns’ back in the day, which are commercial areas that have grown vastly in the last 25 to 30 years – and even morphed into bespoke animations etc for brand ad campaigns. I really enjoyed soft selling ideas and the CPL portfolio of client brands to ad agencies back in the early/mid 90s for the likes of Hanna-Barbera and LucasFilm. Aardman mastered the latter and both areas have spawned so many branded characters over time, albeit none of them ever quite cut it versus established classics.

And Andrew, going back to food – but away from cakes! – does a category like fresh produce present a new opportunity for licensing. Could licensing do more to promote ‘healthy eating’?
Andrew: Absolutely to both! Take the core equity of a character – say it likes to play rugby – and apply it to a commodity like oranges, which could be eaten at half time… It then makes sense for a retailer to stock character branded oranges to attract a new audience and add value. We did exactly that with Popeye – who eats spinach – and Fresh spinach – a commodity – back in the day to attract kids to eat spinach.

And design-wise, what are some of the biggest changes you have seen in how licensed products are designed over your career?
Andrew: Design has changed immeasurably! We had to make design boards by hand back in the day and now AI can do it in seconds. Product designs, concepts, in-store presentations are easy now. This goes for licensed and regular design.

Materials have improved in a more eco direction too, so the space for design has changed. Good licensed design must come from professionals though – it’s art, unlike everyone with a mobile phone who thinks that they’re a professional photographer… They’re not!

Daniel, coming back to you for a moment – what advice would you give to an IP owner looking to break into the licensing market today? How do they get themselves market ready?
Daniel: My advice is always to prepare before you approach the market. Many IP owners understandably focus on finding licensees, but the first question should be whether the brand is genuinely ready to be licensed.

That means understanding your brand positioning, identifying where you have authentic permission to extend, defining clear category priorities, protecting your intellectual property, establishing comprehensive brand guidelines and developing a commercial strategy that potential partners can buy into.

Equally important is demonstrating that there is real consumer demand. Licensees are making significant commercial investments, so they need confidence that they’re investing in a brand with momentum, relevance and long-term potential. Ultimately, licensing isn’t just about having a great brand. It’s about presenting a compelling business opportunity.

Great answer. Last question, and it’s one for you all… From your career to date, has there been one deal that you can point to that you think represents the ‘best of’ licensing? Why do you think it worked so well?
Daniel: It’s a great question, but if I’m honest, the things I’m most proud of aren’t necessarily individual deals. For me, success has always been about building long-term strategic platforms rather than simply signing transactions.

I’m incredibly proud of the work we did with the Amy Winehouse Foundation, helping create the Amy Winehouse experience at the Design Museum. That project demonstrated how brand extension can celebrate a legacy in a way that is authentic, culturally relevant and genuinely meaningful to fans.

I’m equally proud of our 13-year relationship with Hershey’s, where the focus was never on one agreement, but on building a long-term international growth strategy that continued to evolve over many years. Working with FIFA was another career highlight. Rather than thinking purely about licensing around major tournaments, we helped develop strategies that enabled the brand to engage consumers year-round, creating value well beyond the event cycle.

Those experiences reinforced something I’ve believed throughout my career: the best licensing isn’t about chasing individual deals. It’s about building sustainable platforms for growth that create long-term value for brand owners, commercial partners, retailers and consumers alike.

Across my career, I’ve been fortunate to work with major global brands and high-growth businesses across more than 18 international markets. Our experience has consistently delivered commercially successful programmes, many of which have received industry recognition and awards, but the common thread has always been the same – they started with a clear strategic vision. The commercial success followed because the foundations were right.

Ultimately, that’s what I believe represents the very best of licensing. It’s not about signing the biggest deal. It’s about creating partnerships, platforms and experiences that strengthen brands, build lasting relationships and continue delivering value for years to come.

Simon: For me, there’s plenty of promotions with FMCG brands, some of which have been revisited over and over again… But for pure product deals, I would say the licensed deals for Monopoly AWP and SWP machines – fruit machines and quiz machines for those that remember – the forerunners to other physical and digital ‘soft touch gambling’ games of now. Blanket coverage across the UK and later European on-trade outlets – and very healthy royalty cheques. But it also perfectly matched IP and gameplay. It was an interesting sector and industry to delve into as well, with some great characters of its own.

Andrew: Two come to mind. I was fortunate at CPLG to work on an absolutely incredible range of licenses – and one of the biggest deals I did was via Co-Op’s then supplier FE Barber. They invested hundreds of thousands, even producing Dennis The Menace shaped cereal – and cola, biscuits and crisps.

The second is when I became independent, I launched Sylvester Cat Litter via Warner Bros and Volclay. It sold well internationally. The character was a natural fit with the product.

The post Ian Downes, Simon Gresswell, Andrew Levy and Daniel Avener talk industry evolutions, collaborations – and lessons appeared first on Brands Untapped.

“Africa’s economy is growing at warp speed.”

I joined the delegation of fellow licensing colleagues in a joint effort to support the transformation of one of the largest economies in the world to collaborate with global brands.

What was the thought process behind the event, and what were its key objectives?
Africa’s economy is growing at warp speed and 60% of its population is under 25 years old! This offers a huge platform for both global brands to enter the market and the development of home-grown brands to develop both inside and outside of Africa. Our industry can be hugely influential for the next generation of brand developments in multiple sectors, including sports, entertainment, fashion and food & beverage.

You spoke at the event about retail trends. Can you give us a few points from your discussion?
There are major thematic developments at retail which could cover several pages over a very long debate! But the key headlines that I discussed included the following:

• Omnichannel Integration
• Immersive Shopping Experiences
• Sustainability and Ethical Commerce
• Automation and Robotics
• Growth of Private Labels
• Social and Mobile Commerce
• Resale and Second-hand Markets

Thinking about the wider event, how would summarise the licensing opportunities that exist in Africa today?
This inaugural event highlighted just how much opportunity there is for global and local brands in Africa. Africa is already suppling the world with key ingredients and raw materials, and now the future will be building on these commercial channels into long term brand investments.

You recently launched your own company, Magic Hat Brands. Can you tell us more about the business?
At Magic Hat, we specialise in crafting tailored brand strategies, securing strategic partnerships, and unlocking licensing opportunities across diverse industries. Whether it’s entering new markets, expanding product offerings or enhancing brand equity, we partner with clients to turn their visions into measurable success.

Our approach is rooted in a deep understanding of global markets, cultural nuances and emerging trends. From Asia to Europe and the Americas, we leverage a network of experts and key industry connections in territories around the world to ensure brands achieve sustainable growth. With this global reach, we empower businesses to navigate complex markets with confidence – while maintaining their brand’s identity and integrity.

Magic Hat provides an integrated suite of services designed to meet the needs of brands at every stage of their growth journey. From strategic development and market entry to brand licensing and creative innovation, we offer end-to-end solutions that drive value and deliver results. Our experience spans sectors including beauty, entertainment, food & beverage, sports and lifestyle, enabling us to apply industry-specific insights to every project.

“Our approach is rooted in a deep understanding of global markets, cultural nuances and emerging trends.”

You have extensive experience in brand licensing. What advice would you give to a brand owner considering entering the licensing market. How can they be ‘market ready’?
Be very clear on your intentions and objectives and make sure these are realistic in context of a global market. Licensing is a fantastic business model to deliver on a number of different metrics, so prioritising these for both internal and external alignment is key. Work with a trusted partner like Magic Hat; big agencies are not always the answer.

And don’t follow trends, create them. Look ahead. The integration of storytelling, ethical practices and cutting-edge technology will define successful licensing strategies. Brands that focus on building emotional connections with consumers and adapting to dynamic market trends will thrive in the evolving licensing landscape.

Finally, over your career can you highlight three products you have been involved in developing that you are most proud of?
There are too many products to name, but I am rather proud of the Hershey’s global food and beverage licensing programme that I created across Asia, which currently generates over $800 million in retail sales annually. I am also proud of the work I did with the Amy Winehouse Foundation, especially the Design Museum exhibition and the select collabs that were created for the 10th anniversary of her passing.

The post Daniel Avener on launching Magic Hat Brand Management – and excitement around Brand Licensing Africa appeared first on Brands Untapped.

The first drop of FIFA-branded casual wear, athleisure, footwear and accessories is being sold across shop-in-shops in leading Korean department stores, including Shinsegae and Lotte. The collection also has a presence in the duty-free section of Seoul’s Incheon airport.

Cowell Fashion will also launch an everyday-wear licensed capsule collection to celebrate the FIFA World Cup 2022 in Qatar.

MDR Brand Management was appointed by FIFA in 2021 to strategically build a long-term licensing program in Asia, with a vision to establish FIFA as a year-round top tier lifestyle brand.

“We are so proud to be developing such an incredible project for FIFA and to deliver on their new brand objectives,” said Daniel Avener, CEO at MDR Brand Management.

“Launching the new product range is an exciting development for FIFA within South Korea and we look forward to working with licensing partner Cowell Fashion to expand FIFA’s retail offering in other markets around the world. The new brand vision allows FIFA to connect with existing football fans but also engage new audiences.”

Cowell Fashion’s FIFA official licensed product range is currently only available in South Korea.

The post MDR Brand Management secures FIFA clothing deal with Korea’s Cowell Fashion appeared first on Brands Untapped.

MDR has set out to celebrate and protect the iconic artist’s legacy through creative, authentic brand extensions. The first launches include a make-up collection from Illamasqua, an exhibition at the renowned Design Museum in London and a limited-edition turntable from Roberts Radio.

We spoke with Daniel Avener, CEO at MDR Brand Management, about the company’s design-led approach to crafting brand extensions.

Daniel, it’s great to catch up. Before we dive into your recent exciting activity with the Amy Winehouse brand, for anyone new to MDR Brand Management, talk us through how you approach working with brands?
Before starting any client relationship, we go through a rigorous process of brand immersion and deep dive into the brand. The idea is to discover the brand and define the brand extension objectives, strategies, geographic opportunities, retail channels and categories for expansion.

We also work on a creative strategy and visualise opportunities from the get-go to bring our ideas to life. The final proposal and brand extension vision is bespoke to each client and brand, but we consider this to be an essential part of the immersion process.

“Design is at the heart of everything that we build for the brands we represent.”

As part of that focus on immersion, how important is design to MDR when it comes to crafting brand extensions?
It’s essential. We have an in-house strategic design team that are embedded in our day-to-day work with our clients. Design plays a role at every level; from the pitch process and design strategy through to executing product design and packaging.

We take creative very seriously and make sure our brand extension programmes really lean on the brand’s key equity and existing assets.

It sounds like you’re quite hands-on when it comes to working with licensees through the design process.
Yes – design is at the heart of everything that we build for the brands we represent. As part of our brand management process, we have an intrinsic connection to product innovation and design.

Our brand and creative team is involved at every stage of the design and approval process, but MDR also strongly believes in a collaborative process that allows our partners to let them explore creatively.

On that, you’re doing some really creative work with the Amy Winehouse brand. Why did the brand jump out as one to work with for MDR?
Needless to say that Amy is a real talent that the world lost too soon. Her legacy has long been undervalued and with the 10th anniversary of her sad passing, MDR felt it was a pivotal point to celebrate and protect her legacy.

We also want to continue to help the Amy Winehouse Foundation. The charity was set up by Amy’s family in her memory and works to inspire children and young people to build their self-esteem and resilience, so that they can flourish.

“All partnerships that we have carefully curated are with brands that Amy either had a relationship with during her life, or we believe she would have today.”

From a creative point of view, how are you approaching building her legacy into a brand? What core brand elements are there for partners to engage with?
The Winehouse family, and MDR, are lucky to have access to an incredible archive of Amy’s handwritten personal notes, lyrics and sketches and personal items to draw from. MDR is working hand in hand with Amy’s family and the foundation to ensure authenticity in every partnership that we bring to market.

Let’s dive into some of these partnerships. Roberts has launched the RT200 x Amy Edition turntable. Why did this partnership make sense for the brand?
Roberts was very close to Amy’s heart and truly expressed her retro style. Amy owned Roberts radios, and her beloved pink Roberts Revival is currently on display at the Amy: Beyond the Stage exhibit at the Design Museum

“Roberts was very close to Amy’s heart and truly expressed her retro style.”

The new Amy inspired Roberts limited edition turntable uses Amy’s signature, doodles and design inspiration. All partnerships that we have carefully curated are with brands that Amy either had a relationship with during her life, or we believe she would have today.

You mentioned the Amy: Beyond the Stage exhibition there. It’s running at London’s Design Museum until April 10th, so people still have time to check it out. How does it highlight Amy as a brand with design-thinking at its core?
The exhibition explores the life and visual stylings of Amy and aims to provide an “intimate connection” with her creative process. It showcases her distinct personal style through a range or artistic photography and outfits she wore during her greatest performances, from high-street picks to designer brands such as Moschino at the Brit Awards in 2007, Dolce & Gabbana at the Grammy Awards and Luella for Glastonbury in 2008.

Visitors can see her impact on the fashion world and learn more about the designers who collaborated with Amy, including Fred Perry, and explore the culture behind Amy’s favourite and memorable accessories.

Looking ahead, what other areas are you interested in exploring for the Amy brand?
We are looking at Amy’s unique aesthetic style, which crosses all categories including fashion, beauty, music and home. Amy was an influence beyond her music and this is what we are exploring with the protection of her legacy. Amy was ahead of her time and drove trends such as the mixing of premium and high street brands which is completely relevant today.

All of the partnerships that we have carefully curated had brand relationships with Amy, or would have today; they share Amy’s values, cues and aesthetics.

Great answer. One last question: How do you and the team at MDR fuel your creativity?
As a team, we are constantly immersed with new brands and come across several creative challenges on a weekly basis. We follow trends and see how those trends can align with the brand we represent and how they are applicable to our work.

Daniel, a huge thanks for taking time out for this. I’m looking forward to seeing where you take the Amy Winehouse brand next.

The post MDR Brand Management’s Daniel Avener on the design-led approach to crafting authentic partnerships for Amy Winehouse appeared first on Brands Untapped.

MDR will work closely with Revlon to develop brand extension programmes that are impactful on a global scale, and that build on Revlon’s equity in colour cosmetics and Elizabeth Arden’s high-performance skincare technologies.

“The Revlon brands are an exciting and complementary addition to MDR’s global brand portfolio, and we are delighted to be working with such iconic and revolutionary beauty brands,” said Daniel Avener, CEO of MDR Brand Management.

“Their notable international presence gives way for innovative products, formats and formulations, direct-to-consumer relationships and experiential opportunities.”

Martine Williamson, Global CMO at Revlon, added: ‘’We are pleased to welcome MDR Brand Management and their wealth of experience within the beauty space. MDR is well suited to support us in developing profitable new product categories through their strong and valuable connections with licensees globally, and in delivering sustainable growth outside of our core product portfolio.”

In North America, MDR will be working with their existing associate partner, Brand Activation Consulting.

The post Revlon appoints MDR Brand Management to lead brand expansion plans appeared first on Brands Untapped.