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.

Let’s take the beloved Crayola… Imagine shrinking down to the size of a Borrower on a giant creative school desk ready to ride the Doodle Coaster and leave your mark! You board a 64-pack of crayons carriage, launch out of a giant pencil sharpener, and travel on a track that feels like overlapping scribbles – through crumpled-up sheets of ideas, up a giant ruler and down into the spiral twist of a lined notebook spine! The finale dunks you into a giant ‘paint splodge’, blasting you with colour-illuminated mist, while the back of the coaster shoots out a coloured vapor trail as if you’re drawing on the sky itself.

Even the queue feels like stepping into the creative process… To keep everyone entertained, these queue corners feature sensory desks where you can digitally ‘melt’ crayons, colour mazes made of translucent panels and musical crayon statues to create tunes while you wait. And for that photo moment… When you check your on-ride picture at the exit, interactive screens let you draw funny, vibrant scribbles all over your terrified coaster faces before you share it!

Keith Chapman, Creator of PAW Patrol and Bob the Builder
I’m excited to go visit the PAW Patrol rides at Chessington this summer – but which other brands do I feel lend themselves well to a licensed rollercoaster? For theme parks, brands with vehicles and trains are more naturally aligned, like F1, Hot Wheels, Cars and Thomas & Friends. But for general licensing appeal, KPop Demon Hunters is well on its way to become a licensing juggernaut!

Oliver Dyer, Founder, Skew
We’ve got very good at licensing rides that move fast and theatre that’s slow. So here’s an alternative… Not a rollercoaster, something closer to what ABBA Voyage has done – or the better branded theatre experiences like Paddington or Stranger Things, where the technology disappears into the experience.

A licensed, heritage-led journey that sits somewhere between ride and theatre. You move, but gently. You sit, but you’re not static. Physical sets, projection, sound, maybe live performance layered together to carry you through a sequence of places. It could be UNESCO. It could be the National Trust. It could be the world’s biggest museums bringing their collections together into one shared experience.

It’s designed to be shared. Families, not just kids. Call it an hour. You arrive, you’re welcomed in properly, not processed. Tea and cake rather than popcorn. The story unfolds around you, not in front of you, and by the time you leave you feel like you’ve been somewhere rather than just been on something.

Jason Knights, MD, Blue Kangaroo
My pick would be The Upside Down from Stranger Things. Given how visually distinctive the Upside Down is, a coaster could shift environments mid-ride – normal Hawkins one minute, then suddenly into the dark, twisted Upside Down… With Demogorgons appearing around the track!

James Oddy, Co-Founder, Vize
Few brands lend themselves to kinetic, high-energy attractions quite like the Teenage Mutant Ninja Turtles. The franchise has always been defined by movement – skating through sewers, leaping between rooftops and racing through New York at night – which makes it a natural fit for a rollercoaster narrative.

A ride concept built around a ‘Sewer Launch’ could turn that energy into a cinematic experience that mirrors the way the Turtles travel through the city – and I’ve created some images of what this could look like…

The ride begins underground, deep within the labyrinth of New York’s sewer system. Guests queue through dripping tunnels covered in graffiti tags, old arcade machines and stacks of pizza boxes before entering the Turtles’ lair. Screens and set pieces establish the story: the team has detected unusual activity from their long-time nemesis, Shredder, who is moving across the city with the Foot Clan.

Riders board turtle-shell themed vehicles inside a dimly lit maintenance tunnel. As the train rolls forward slowly, the atmosphere builds – flickering lights, echoing footsteps, the distant rumble of subway trains overhead… Suddenly, a message from Master Splinter warns that the Foot Clan are closing in.

Then comes the signature moment: a high-powered launch through a collapsing sewer tunnel. Water sprays from broken pipes as the train accelerates, bursting through a manhole cover and emerging onto the streets of Manhattan.

From there, the ride becomes a full urban chase. The track twists through stylised cityscapes – weaving between fire escapes, diving through neon-lit alleyways, and banking around rooftop water towers. Projection mapping could simulate the Turtles racing alongside riders, swinging across the skyline or flipping over obstacles.

Midway through the ride, a dramatic vertical climb could recreate the feeling of scaling a skyscraper before a sudden drop back into the chaos of the city. The climax arrives as Shredder appears ahead on a towering rooftop structure, triggering a rapid series of corkscrews and turns that simulate the final battle.

The finale sees riders plunge back down through another manhole and return to the sewer network – victorious – before rolling slowly back into the Turtles’ underground lair, where the reward is, naturally, a celebratory pizza party. The appeal of a concept like Sewer Launch lies in how naturally the IP translates into ride mechanics.

The Turtles’ world already contains the elements that rollercoasters thrive on: tight tunnels, sudden vertical escapes to the surface, high-speed rooftop chases and comic-book action. It’s the kind of property that could deliver both nostalgia for parents who grew up with the heroes in a half shell, and a fast, visually playful attraction for the next generation of fans.

David Born, CEO, Born Licensing
I would love to see a Survivor themed ride. With its 50th season this year, I feel like a rollercoaster is overdue! I envision this ride delivering an experience that reflects the ups and downs of a season of Survivor – from the physical and mental challenges to the tribal council experience that often feels like a rollercoaster in itself. As the rollercoaster winds down, a holographic Jeff Probst would be standing there ready to snuff their torches!

Molly Van Der Brink, Senior Attractions & Live Experiences Manager, Aardman
It goes without saying I am – like many others – excited to see the new Bluey rollercoaster launch as we are big fans in my house. I was interested to see that they chose to focus on Bluey & Bingo’s ‘granny characters’ rather than their most classic form for their first ride, which perhaps sets the scene for future Bluey theme park installations. It certainly delivers a familiar narrative arc for visitors to dive into from the word go.

Brands and brand moments that translate well into rollercoasters usually have strong storytelling, clear emotional beats which create anticipation and iconic moments or characters that fans instantly recognise. In terms of other brands, I have to admit I’ve been a little bereft since the end of Stranger Things and think there could be so much fun to be had with a dark ride experience leaning into the gruesome, noir feel of the final chapter in the franchise – particularly using the incredible end fight scene and the Mindflayer as a scene or track within the ride.

The challenge of how to translate a global phenomenon like that of KPop Demon Hunters from screen to coaster would be an interesting one – and I would love to see this unique world and aesthetic come to life in an LBE setting. As many theme parks start to explore overlaying VR onto their rollercoasters, allowing guests to choose their own adventure each time they ride, this could be a really thrilling mixed reality ride – combining the stunning visuals and hit music in a headset along with the chance to whizz through all the incredible scenes and backdrops from the film itself, with the characters popping up in different forms throughout.

It would be remiss of me not to suggest a favourite Aardman title or moment, and as such I would love to see – and ride! – a rollercoaster which tracks Ginger and the gang’s great escape from Tweedy’s Farm from Chicken Run…. Seated in the flying machine, perhaps travelling pre-ride through the pie machine, before blasting out into the mad and vibrant world of Funland Farms – ending in a face-off with Mrs Tweedy herself to avoid becoming a nugget… Maybe one day!

Carl Rush, Founder, Crush Creative
One of the projects we had the privilege of working on last year was the creation of a brand for Neverland. In 1929, J. M. Barrie entrusted the rights to Peter Pan to Great Ormond Street Hospital (GOSH), and it was a real honour for us to create a licensing brand world for Neverland that could help the hospital raise funds for its vital work.

Early discussions with our client made it clear they had big ambitions to bring the brand to life across multiple audience touchpoints, including publishing, gifting, gaming and experiential. Although Disneyland has a gentle ride called Peter Pan’s Flight, I’d love to see a rollercoaster designed specifically for the GOSH Neverland. Children and adults alike already associate Neverland with joy, imagination and wonder, making it a natural fit with plenty of strong visual moments.

Riders could launch from the Darling nursery, fly over London into Neverland, then race through jungle, Mermaid Lagoon and Captain Hook’s pirate ship before escaping the ticking crocodile. The journey would end soaring back into the stars, capturing both the magic of flight and the adventure of the island.

This might be one of those hypothetical questions you’re posing now, that could genuinely become a reality in the future. We certainly hope so.

Lucy Arguile, Licensing Executive, Reemsborko
When I think of rollercoasters, I picture adrenaline-fuelled rides, so it would make sense for an action or adventure IP. As I work a lot in the world of anime at Reemsborko, that’s naturally where my mind goes – and Naruto would be my first choice.

Fight scenes in anime are often drawn using speed lines, swooshes and bursts of smoke, which makes them feel very fast and energetic. I think this style could work well in a rollercoaster setting because the movement of the ride, with sudden drops, sharp turns and loops… It could echo the chaos of a battle scene. Lighting effects, fog machines and background scenery could also recreate some of these visuals, making you feel you’re moving through the middle of the fight!

In fact, a bit of digging reveals one is in the works – coming to France’s Parc Spirou later this year!

Danny Heffer, Independent Creative
The design process for aligning rollercoasters with IP usually starts with brand values and translating them into ride experiences. It’s easy to see how something like Paw Patrol embodies adventure and teamwork – perfect ingredients for a family attraction. The character IP market already feels very well served. Across the UK you’ll find everything from Peppa Pig to Wallace & Gromit strapped to a ride system somewhere. So perhaps it’s time to think a little more laterally.

Take Evri – a company that has turned the simple act of delivering a parcel into an unpredictable adventure. Their ride could proudly claim to be “the slowest rollercoaster in the world”. Instead of a dramatic finale, the ride simply tips you gently into a neighbour’s wheelie bin. Alternatively, you may be bitten by an animatronic dog. For an extra upsell, the ride photo booth would superimpose a dressing gown and mug of coffee into your hands before stamping the image “Proof of Delivery.”

Vodafone could also lean into their brand experience. The attraction promises blistering speeds of 1000mph, though in reality it rarely exceeds 20. The queue line features tinny hold music played slightly too loudly, while guests attempt to track their ride time on a bafflingly unreliable app that confidently sends them round in circles.

Best of all, the new British Highways Experience. A rugged, bone-shaking thrill ride where guests bounce violently over potholes, slam through sleeping policemen and swerve unpredictably around traffic cones. The climax sees riders trapped behind an animatronic white van for 45 minutes while a lone worker studies a clipboard. Again F&B could be themed around our fantastic service station industry with broken picnic tables gathered around an overstuffed bin.

Some other quick thoughts:

Ryanair: Rollercoaster where the restraints are “optional extras”.
HMRC: Ride that sends you unexpected bills months after leaving the park.
Trainline: Ride cancelled halfway through.
WeTransfer: The ride ticket expires before you reach it.

All of these could sit inside a new theme park called ‘The Modern World’. That’s enough grumpiness for today, I’m off to the local park to have a go on the swings.

Daniel Ralph, Creative Director, Major Look
With product names that evoke a sensation of flight and speed, Nike would be a perfect fit for a rollercoaster. The brand is synonymous with high performance, perseverance, and facing fears to achieve greatness.

Imagine a tall, fast-launch coaster themed around running, athletics and basketball, with weaving quick turns, weightless airtime and a dramatic drop that slam-dunks riders through a giant basketball hoop. Throughout the ride, Nike athletes offer words of encouragement, culminating in a finish-line photo to capture your achievement!

Paolo Stefi, Founder, Toad
Mario Kart would translate perfectly into a licensed rollercoaster. The brand is already built around speed, curves, boosts and sudden twists!

Anita Castellar, CEO, FanGirl Consulting & Brand Management
For years, I have been wishing for a rollercoaster based on the iconic door chase scene from Monsters Inc, where Mike and Sully ride on the doors through the door warehouse. Since that wish has come true and it’s coming to Disney’s Hollywood Studios, I’ll move to my second wish on the themed rollercoaster list…

The race scene from the Sugar Rush game featured in Wreck-It-Ralph would make an amazing indoor rollercoaster or go kart racing attraction! The race is a high-speed chase, and the winner is the fastest go kart to cross the finish line – so riders will experience a high-octane rush. The movie racetrack is filled with sudden drops and turns through some of the most whimsical locations, like the cola volcano explosions and the candy cane forests.

There are twisting tracks which already fits the feeling of a rollercoaster, and the ride vehicle designs are all easy to recreate from the candy-themed go karts. This attraction is basically already designed! All the Imagineers need to do is pull the incredible visuals from the film for the most whimsical environmental and ride vehicle designs – and pipe in the candy smells for that full 4D affect. Let’s go already!

Sophie Bloomfield, Creative Director, SBC
One brand that would translate brilliantly is Red Bull. Its deep association with extreme sports and events like the X Games already carries the kind of adrenaline-fuelled storytelling that rollercoasters thrive on. Imagine a ride inspired by the daredevil spirit of Evel Knievel – huge ramps, gravity-defying launches and the sensation that you’re the one attempting the stunt, but in a completely safe, theme-park setting.

A similar idea could work brilliantly around the Winter Olympics. With the viral moments and renewed popularity of the Games this year, there’s huge potential to translate those sports into ride mechanics. A high-speed bobsleigh coaster that mimics the twists of an ice track or a halfpipe-inspired layout – capturing the rhythm and airtime of Olympic snowboarding – could deliver both spectacle and a strong branded story.

Rob Bedford, Founder & Co-Owner, Juiced
While rollercoasters aren’t really my jam, I would love to see a Fortnite rollercoaster themed around the Battle Bus! I think with the variety of own-IP characters, along with their record collabs, it could make for a fun ride that goes through hit-to-hit moments of the brand!

We could see the Mecha Team Leader (Cattus) vs The Monster (Doggus) battle, the Doomsday Machine from Chapter 2 Season 2 – one of most played and beloved seasons of the game to date – or some of those collabs go head-to-head… Who wouldn’t want to see the Xenomorph wearing Nike Airs battling against a buff Peter Griffin? Or seeing John Cena do the Crip Walk? Absolute comedy and brand rule-breaking gold!

Adam Colp, Co-Founder, Vize
A Sonic rollercoaster would be a massive no brainer – the cart could be a giant Sonic and spin upside down while travelling along the track like the Blue hedgehog does! It could travel through rings and replicate the green hill levels from the games. Add sound effects from the game and this would be insane!

I’d also love to see a Ninja Turtles pizza wagon one, where you’re zooming through the streets of NYC. It could be completely immersive with characters from the film attacking the car and making it manoeuvre as it goes round the track!

Jess Ivy, Graphic Designer, Juiced
I think a KPop Demon Hunters themed rollercoaster could work really well, especially as the film has proven itself a smash hit recently and has an appeal to kids and adults alike. The incredible visuals could easily be adapted to create a story-driven ride – such as a quest to seal the Honmoon, encountering demons along the way.

I can visualise a triumphant soundtrack, lighting and a track with twists and turns that takes riders on a sweeping journey through scenes from the movie. It could work as either an outdoor coaster similar to Tron at Disneyworld or lend itself to an indoor dark ride similar to The Mummy at Universal Studios. Personally, I just hope for a lot of airtime on the ride!

Graham Speak, Director, Speak Consulting
IP in LBE (location-based entertainment) can create real differentiation for attraction operators and be a critical part of a brands’ ecosystem… So it shouldn’t be a surprise it continues to grow!

There are lots of amazing IP-based roller coasters out there already, from the out-of-this-world Guardians of the Galaxy ride at Walt Disney World in the US, to the stunning Arthur attraction at Europa Park in Germany. It’s not always just about movies and characters – Ferrari-themed Red Force (Port Aventura World, Spain) and Formula Rossa (Ferrari World, Abu Dhabi) are both examples of other types of IP adding value to roller coaster experiences. In each of these examples, ride hardware is used as a vehicle to story-tell, allowing guests and fans to immerse themselves in their favourite IPs in ways they couldn’t otherwise.

So, my shout for what IP I’d personally like to see… I’m a fan of big thrill rides, but I love rollercoasters that families can enjoy together. While we already have the Wallace & Gromit dark ride at Pleasure Beach in Blackpool, I think great fun could be had with a Shaun the Sheep or Wallace & Gromit rollercoaster. How exciting would it be to chase around Mossy Bottom on an adventure with Shaun and his flock – or test-drive the latest mad-capped invention dreamt up by Wallace himself? I think the visual humour and multi-generational appeal could make for a great family coaster adventure.

When operators are investing significant CapEx, they look for an IP with longevity and broad, multigenerational appeal – often to complement their existing portfolio or target certain demographics. They also need collaborative IP partners that help them maximise the brand, create unique experiences and ultimately exceed guests’ expectations – that can often be higher when an IP is involved. An IP that lends itself to secondary spend opportunities like retail merch and F&B is likely useful too!

Whether or not we get a Wallace & Gromit coaster, I expect we’ll continue to see IP leveraged further in the attraction space. I’m looking forward to seeing more IP-led attractions with the upcoming Universal UK – Back to the Future would be great! – and the already-announced Minecraft experiences by Merlin.

Stephanie Griggs, Founder & Creative Director, Studio Griggs
Eight-year-old me was introduced to the magic of the themed ride in the mid-nineties during the holiday of a lifetime to Florida. Universal Studios, MGM, Disney, Busch Gardens, Epcot… We got every penny of value from our two-week theme park pass. I took my newfound interest in rollercoasters very seriously, scribbling down my own reviews for every ride in a small notebook – which would have been very handy to refer to now…

I still viscerally remember the wonderment I felt on the E.T. ride, the terror from the Jaws boat ride, and the pure adrenaline in the Back to the Future simulator ride. Placing a fan inside the IP is what makes themed experiences so special. Not just watching it, but feeling it. Theming the Bluey coaster to a specific, beloved episode like The Grannies is smart because it primes the opportunity for future expansion through other thematic splicing, with no loss of enjoyment for the fans!

Similarly, I think Shaun the Sheep is a baaa-rilliant IP to translate into a coaster or ride. Having immersed myself in the brand through several recent creative projects with Aardman, the thematic treasure trove from seven TV series and two films – with a third coming this year – provides a rich source of ideas to mine, underpinned by mischief, humour and adventure. Atari partnered with Aardman to bring Shaun to RollerCoaster Tycoon Touch in 2021. If millions were happily building Shaun theme parks from their sofas, imagine the real deal!

Celebrating their 50th anniversary this year, Aardman is more beloved than ever because of the genuine craft and human creativity at the heart of everything they make. Similarly, in an increasingly digital world, the craving for real, in-person experiences is only growing. According to Grand View Research, the global theme park market is projected to grow from $67.85 billion in 2025 to $110.50 billion by 2033, and IP- based theme parks led the market with a 41% revenue share in 2025.

Corinne Duckworth, Commerical Executive, Dreamtex
There are already some fantastic branded rollercoasters out there, but I definitely think there’s room for more! One brand that would work perfectly is Gabby’s Dollhouse. The show already has a built-in transformation moment, with Gabby starting in the real world before shrinking down to enter the dollhouse. That could translate brilliantly into a ride experience! Something similar to a ghost train in structure, but instead of scares it would focus on colourful sets, fun surprises and – of course – all of the cute cats!

Another idea could be a NASA-themed launch rollercoaster. Those rollercoasters that shoot off into the air at high speed before coming down slowly already feel like rocket launches, so leaning fully into that theme would make perfect sense. Imagine hearing the iconic countdown while you’re strapped in, followed by the sudden blast-off as the ride launches into ‘orbit’. It’s the kind of moment that would be instantly recognisable and incredibly exciting for both kids and adults.

I used to love the log flume rides as a kid and when thinking about brands that could fit that style of ride, Lilo & Stitch feels like an obvious choice. You could be surfing along the Hawaiian coast, with bright scenery, water effects and the soundtrack that literally features a song called Hawaiian Rollercoaster Ride playing as you hit the waves! With its unbelievably strong brand awareness, it would translate beautifully into a themed water ride.

Finally, this might be more of an experience than a rollercoaster, but I’ve personally always wanted to see a real-life Barbie Dreamhouse. Walking through it as if you were the doll would be amazing – and you could even have Ken’s Mojo Dojo Casa House next door! The Barbie brand has so much personality, there’s huge scope for creating something memorable in a theme park setting. And, of course, with the perfect photo opportunity!

Rob Goodchild, MD, Planet Rights
Following on from Bluey and Paw Patrol I would love to see a roller coaster built around Talking Tom and Friends and the new Suddenly Super TV series. It has all the elements for a great coaster, including moments when the friends become super and the pace escalates. The gadgets and vehicles would add to the action, while the Peak City landscape would give a tremendous sense of scale.

Away from kids’ entertainment, rollercoasters are all about highs, lows, heart-stopping moments, and emotional turmoil – which is much like a supporting a football team.
A ride themed around Manchester United would begin with a towering climb that would have everyone looking down on the rest of the park. Riders would pause to admire the view before embarking on a long, slightly worrying descent with the occasional hopeful bump, always fearful that the whole thing could fall down at any moment.

The Tottenham Hotspur coaster would promise much each time the park opened, having received a lick of paint and minor revamp. However just as it starts a climb towards the summit there would be a massive plunge and the track would suddenly drop away and leaving it teetering on the precipice.

Manchester City’s would feature a few early dips before exploding into a lightning-fast sequence of false starts. Just when riders think it’s over, another burst of speed sends the train hurtling to the finish line. Arsenal’s would just do the opposite. Although always higher than the Spurs ride, it would slow down towards the end and then finish a little short, leaving the rider to a disappointing trudge towards the exit. The Millwall coaster would actually be great fun once you’re on it. Most of the real jeopardy would come from the queue beforehand and the walk back afterwards.

And the rides themed around the England and Scotland’s national teams would pop up in a far-flung location, bringing fervent excitement ad high anticipation. While the Scottish ride, while a bit short-lived, would be pure seat of the pants adrenaline, the England ride would ascend slowly and painfully, maybe lasting a little longer, but only to fizzle out frustratingly.

Steve Starobinsky, Director of Partnerships, Pudgy Penguins
The location-based entertainment sector is extremely important to me, and I’ve focused deeply on building it over the last few years.

I spent two years developing the attraction funnel for the Gel Blaster Nexus GTM, working directly with operators including Dave & Buster’s, Main Event, Urban Air, Punchbowl Social, and others across the entertainment landscape. Through that process I built strong relationships with many of the buyers and key opinion leaders shaping the space today, and I’m excited to bring those connections and insights to Pudgy Penguins as we expand our presence at the ground level.

We’re already beginning to enter the market with a Pudgy Penguins licensed claw machine featuring Pudgy plush, developed in partnership with our amusement plush partner Basic Fun. Our distribution partners Amuze and Pipeline Games bring phenomenal reach, service and expertise across the arcade and amusement ecosystem, helping ensure the brand shows up in the right places. Pudgy Penguins has already proven itself as an in-person brand, which we saw clearly with the overwhelming response to our Pudgy Petals Valentine’s Day pop-up shop in New York City.

From there, the vision continues to expand. The next natural step is Pudgy World – starting with the game and ultimately evolving into a theme park experience. We believe every level of the LBE ecosystem, from arcades and attractions to fully themed worlds, will be a foundational component of modern brand building and an important way for Pudgy Penguins to create real-world moments with its community.

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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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At BLE this year I noticed there were quite a few brands leaning into this trend with their characters. It could be part of the ageing up of character licensing that’s spearheaded by pop culture fandom. Following Japan, older ages are more willing to buy into and wear character now here in the UK. Great for the industry – and great for Normans.

What development in licensing and design took you most by surprise in 2025?
I see these things in the most ‘live’ sense through the lens of my kids – and for them this year has been about KPop Demon Hunters.

They’re desperate to get their hands on merch and it’s been really slow to come to market. What I’ve noticed here is that there’s a lot of unofficial, unlicensed products springing up to meet the demand. What this means in terms of design is that everything looks a bit fake (it is!) and weird (it is!) This though in turn has its own aesthetic and so the market becomes awash with wonky renderings and applications. The movie looks great though and I’m looking forward to seeing what Mattel and Hasbro do with it.

What has been the biggest design or business challenge you faced in 2025?
For me it’s been an unwillingness to press the start button. I’ve had so many positive conversations about projects, but particularly towards the end of the year things have ground to a halt. I think mostly it’s been about The Budget and the budgetary year. There’s a huge lack of confidence in Westminster at the moment and it’s been frustrating looking for anyone to turn that around. For me that’s the challenge – I sense business wants to push on but a general sense of caution pervades.

“I thought Skew’s work for the British Museum was a real stand out.”

What design or business development from outside licensing has influenced you the most in 2025?
AI is obviously seeping into everything at the moment. Too big a subject for here, but personally I think it’s a positive. I see it as a tool that enables faster development of ideas and concepts. Yes, it takes some fee-charging tasks away from us but some technology will always come along that does this – that’s progress. I’m also watching what will happen with the Adobe rival Affinity. Adobe hasn’t been great at consumer relations over the years so I’m not surprised someone’s come to topple the incumbent. I haven’t quite made the switch yet – but I’m expecting to.

What was your pick of style guides in 2025?
I thought Skew’s work for the British Museum was a real stand out. In particular the character design for Bastet, their cat character, based on an object from the collection. Creating characters from scratch can be a tightrope from cute to cringe but this was masterfully done. A really smart design that has enough kawaii appeal to work internationally as well as at home. Hats off to Sara and Oliver!

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Carl Rush,

Oh my gosh, Miss Piggy is absolutely perfect for brand licensing. We all know she lives for luxury, fashion and beauty, so those are obvious choices for licensing categories. I could go on forever, but here are my top three products inspired by her iconic catchphrases:

“Hi-ya!” Perfumed Body Mist: A glam-meets-kung-fu body mist that celebrates Miss Piggy’s fiery side, confidence, sass and ability to take control of any room – or frog. Think OTT fragrance, pink pink pink packaging and a little attitude in every spritz.

“Moi” Luxury Lip Kit: A high-glamour lip set capturing her diva personality. Available in playful, sophisticated shades like: Piggy Pink, Champagne Kiss, Kiss de Moi, Pearl Diva, Froggy’s Fancy, Blush of Fame, Silk Snout. Perfect for fans who want to channel Miss Piggy’s signature style.

“Kiss Kissy” Luxury Handbag collaboration with Louis Vuitton: Glossy piggy-pink patent leather with a built-in mirror so you can admire yourself at all times. A flirty, indulgent accessory that perfectly embodies Miss Piggy’s love of drama, glamour, and unapologetic confidence.

Come on Miss Piggy, give Crush a call!

–

Lucy Salisbury,
Director, Group Licensing & Retail Strategy, Funko

As a lifelong Miss Piggy fan, I couldn’t be more excited about this new chapter for such an iconic character. With the announcement that Jennifer Lawrence and Emma Stone are bringing her story to life, the upcoming Miss Piggy movie has all the right ingredients to inspire a new wave of consumer excitement. At Funko, we’ve already seen incredible enthusiasm for our Miss Piggy Funko Pop! and Loungefly Muppets Miss Piggy Mini Backpack. With more products across expanding categories on the way, the timing couldn’t be more perfect to celebrate her larger-than-life charm!

Oliver Dyer,
Founder, Skew

Why wait for the Miss Piggy movie? When it lands, the gravitational pull of Emma Stone or Jennifer Lawrence will be hard to resist. But it’ll also make it harder to tell any story that isn’t theirs. There’s already a product story to be told. One that could prepare the ground now.

Ruth Handler’s cameo in Barbie made us look again at Miss Piggy’s origin story, and we weren’t the least bit surprised to find Bonnie Erickson behind her creation. One of the original female creatives on Henson’s team, Erickson gave Piggy her look, attitude and flair.

The spotlight’s usually on Henson. But if there’s ever been a time to shift focus, it’s now. A ‘Bonnie Erickson Collection’ would be a fitting tribute and a sharp commercial move. Think updated 1970s design, subverted slogans and products that play with – and punch through – outdated norms. Piggy would HIYA! the idea that creativity is just for the boys.

And it’s needed. In a world where female-focused platforms like Halo – meant to promote women’s rugby – are pulled after three days for being “unbelievably sexist,” there’s still huge cultural and commercial space for brands that get it right. Piggy has always had star power. Now’s the time to show she has origin power too.

–

Sophie Bloomfield,
Creative Director, SBC

Miss Piggy is an icon. And what IP delivers the strongest licensing opportunities? Icons.

Having grown up with Miss Piggy, her attitude, strong female personality and unapologetic assertiveness have always inspired me – and I believe many millennials and Gen X’ers feel the same.

When developing a licensing programme, I always start with a creative audit, identifying the natural themes within a character and building product categories around them. With Miss Piggy, there’s a rich heritage to draw from. Much like Madonna, she’s constantly reinventing herself, which opens the door for an ‘Eras of Miss Piggy’ range spanning fashion, accessories and footwear.

Her flawless face and signature glamour also lend themselves perfectly to beauty – Ciaté’s past makeup collaboration proved just how well that space fits her. And let’s not forget her musical side. A karaoke partnership with a brand like Lucky Voice, or even a line of musical instruments, could hit exactly the right note.

Gary Pope,
Co-Founder, Kids Industries

She was born for the solo career that beckons. Frank Oz, her creator, always said that, a little like Kermit, she was one of the few Muppets that really did have three dimensions. And that’s the simple rationale that says a solo licensing programme for the swine could very well shine.

So who exactly is this enigmatic cultural icon? We know she grew up in Keystone, Iowa; her father died when she was young, and her mother wasn’t at all nice to her. She took herself off to beauty contests and had to win to survive. And she did. Allegedly. That tough upbringing meant, as it so often does, a vulnerability disguised by a forceful personality – and her killer karate chops. Ultimately, it’s this hard-earned resilience that provides the foundation for the success that will follow her forthcoming movie.

She’s been called a feminist icon, and it’s clear that Miss Piggy is part of our collective consciousness. This porky embodiment of nostalgia is entering stage left for her big moment at just the time when nostalgia is more needed than ever. She’s glamorous, funny, confident and always impeccably dressed. If the movie producers get it right and Disney plays their CP hand well, this Miss will be a bigger piggy than Peppa.

When awareness levels match affinity scores, then you know you’re on to something good. And that’s where we are with her. Never mind the trade; her existing consumer fan base is legion. And if someone isn’t a fan now, they will be. Who doesn’t like an anthropomorphic, French phrase-purring, frog-loving, karate-chopping puppet diva pig? There is so much to play with. However, maintaining her character’s authentic identity – elegant, self-absorbed, and comedic – is essential in ensuring brand integrity as those deal memos get signed.

A considered licensing strategy for the doyenne of pigs can and should target multiple segments, with products designed for different age groups and across various categories. Toys and costumes for children, luxury accessories for adults and novelty items that highlight her larger-than-life personality can all be explored for great effect and margin.

Categories such as apparel, accessories and beauty products appear particularly promising. Her glamorous image aligns perfectly with fashion collaborations, cosmetics and jewellery lines that emphasise confidence and style. Yes, it’ll need a tongue-in-cheek execution, but that’s why it will work. Who doesn’t want a pillow or a throw blanket that screams “Moi”?

And let’s not forget the digital age was tailor-made for Miss Piggy. She’ll take the socials by storm – posing, pouting and playful. That larger-than-life personality is perfect for TikTok, Instagram and beyond. She might even spark some interest among influencers and content creators, making her not just a licensing icon but a social media sensation.

Glamour, humour, awareness and affinity? Miss Piggy will hog the spotlight and bring home the bacon.

Danny Heffer,
Independent Creative

Oh wow, what a character! What a force of nature! Actress. Singer. Model. Author. Style icon. International treasure. I see a very clear route here, noticing the buzz around The Devil Wears Prada sequel and previous outings like House of Gucci. Playing on Piggy’s fabulousness is a clear winner. I’d look to create some top notch collabs with the best of the best fashion houses and turn a silk purse into a sow’s ear.

Her penchant for French phrasing steers me to towards the French fashion houses… She’s fashion-forward, fashion-flawless, fashion-everything. Perhaps she could use her beau for a muse, Hermès for Kerm-ès perhaps? The world needs it! The most dapper of frogs would suit a bespoke bow tie or pocket square, although being naked I’m not sure where he’d keep it.

Looking at her other attributes, she’s a black belt in karate so sportswear seems an obvious route to the (livestock) market. I see her in a hot pink version of Uma Thurman’s Kill Bill tracksuit by Onituska Tiger maybe? Being so adept at the martial arts, I wonder if there’s a UFC angle here? Brands such as Monster and Red Bull are in the Octagon already, so perhaps there’s room for an energy drink too – giving the modern athlete some pork power could work. Bacon-flavoured energy gels? Protein packed pork scratchings for that after work out refuelling? Fizzy gravy drinks? Count me in.

Megastars in a similar league have looked to create their own brands and therefore cut out the need to pay away to a third party. Beyonce has Ivy Park of course, but I see a natural fit for Ivy Pork. Queen Bey has just linked up with adidas and ASOS to deliver a winter drop. Using body loving latex, sheer monogrammed leggings and patterned puffers, when winter hits, find your Pork.

So what attributes should we carry forward into a licensing programme? What pearls of wisdom can we cast before the swine? Feminine power obviously, Having the mental strength to cope with such devastating beauty, glamour personified. What the love of a good frog can do to a woman. So many life lessons to be learned from such an inspirational figure.

She is beauty. She is sparkle. She is the reason sequins exist. I’m smitten, I’m boar-struck. I can’t wait for the movie.

Alaina Caldwell,
Partner & Creative Director, StyleWorks

Miss Piggy is an icon! She could definitely hold her own as a solo licensed character even without the motion picture, but the new character-focused movie will certainly make for a major marketing moment and begin a flood of product development that could extend for years to come.

I think health and beauty would be an important category for her as it ties back to her glamorous character. Apparel and accessories and dress up could be huge as well, as she always loves to dress to impress. Most importantly, the product messaging and sayings within the designs should focus on her snarky humour and unfiltered expressions.

–

Sandra Vanstan,
Head of Licensing, William Lamb Group

Miss Piggy could absolutely smash a solo licensing push. She is so iconic, sassy, glamorous and confident. She knows what she wants and does not hold back to get it! An inspiration!

She touches the hearts of many who know and love her through growing up watching The Muppets, or through her gifs and memes on social media. One of the things I absolute love about her is her unapologetic self-love and body positivity, such a key relevant cultural message.

This beautiful swine would most definitely shine working with both fabulous retro high-end fashion collabs and fast fashion. Perhaps a Valentine opportunity with her passionate pursuit for Kermit! I could also see health and beauty doing well with this, thinking ‘Eau de Moi’ perfume, and not forgetting those false eyelashes!

Naturally, I have absolutely no doubt our talented team here at William Lamb will pay homage to her with product development to support this movie. I think the key would be to keep Miss Piggy true to herself, keep that inner diva and let her own it!

April Canlas Eddy,
VP of Operations & Business Development, Mattson Creative

The enduring allure of Miss Piggy can absolutely sustain a standalone licensing program today.

Her intentionally over-the-top glamour gives fans permission to lean into high style and personality. This maps cleanly into premium collaborations across apparel, handbags, sunglasses, cosmetics and skincare.

Miss Piggy’s aspirational lifestyle also lends itself effortlessly to partnerships across gourmand-adjacent categories such as chic kitchenware, tabletop, wine glasses, barware, and aprons. The opportunity is not just in nostalgia alone, but in Miss Piggy’s attitude. Her self-love is turned all the way up! She is bold, extra, and full of camp.

Miss Piggy appeals to adult fans of the Muppets franchise and her comedic bravado is culturally aligned with what audiences celebrate now – empowerment, theatrical confidence and radical self-awareness. I can’t wait to see the movie!

–

Arrthi Little,
Founder of Arrthi Ltd & Creator of Cheeky Legends

Undoubtedly, Miss Piggy has all the right notes to take the centre stage of a solo licensing outing. This character is not only visually iconic, but her sass eludes drama and makes her take the spotlight on the shelves. We’ve recently seen other pink, diva-heavy characters stand out – such as Barbie and Glinda from Wicked – proving the appetite for powerful, aspirational female archetypes who embrace theatrical glamour.

I believe Miss Piggy would truly shine on women’s apparel. There is no doubt nostalgia will be used as a powerful tool for edgier, adult t-shirts, perhaps using original TV show imagery and bold graphic treatments. But for the new generation, I see a softer approach – cute and comfortable sleepwear that makes for great gifting. This ties into the growing consumer trend for wellness and self-care that has dominated the lifestyle market. There is also the opportunity to tap into the beauty and diva aspect, so I see strong collaborations with premium make-up brands.

As far as the retail landscape is concerned, the Muppets brand is still vastly more popular in its country of origin, the US. However, from a UK perspective, the Disney ownership makes the licensing program ideally suited to high-volume, trend-driven retail. We should expect to see products appealing to both large supermarkets and high street destinations like Primark, offering affordable, fashionable gifting options that tap into both comfort and nostalgia.

On a final observation… I was recently watching Muppet Babies with my little girl and what stuck out was the introduction of a new character, Summer Penguin, perhaps to address the lack of female representation. As you soon notice, Miss Piggy is the only female lead amongst a nearly all-male cast. So, I would not be surprised if we see a new, more diverse female character being introduced with the solo movie project that might have a potential ‘Ken effect’. If so, licensees must be ready to embrace this unexpected star. The biggest opportunities often come from agility, and the licensing industry should not hesitate to leverage a breakout new character to build fresh, long-term audiences.

Stephanie Griggs,
Founder & Creative Director, Studio Griggs

I reckon there’s a pig opportunity to build a licensing programme around this… Quite frankly it feels like a range should already exist, film or no film, because to me, Miss Piggy sits in a Jennifer Coolidge-character-adjacent space, which is the slightly unhinged energy we all need.

She has so many iconic phrases, which I’m sure the film won’t be short on taking advantage of, so pun and slogan-led fashion and accessories would be great hero categories.

I’m thinking quotes like this, on tees, hoodies, phone cases and so on: ‘Who, moi?’, ‘Too glam to give a ham’, ‘Cancelled? Impossible’, ‘Hogging the spotlight since 1976’, ‘Green flags only!’… I could go on with the porky puns!

–

Katie Edmundson,
Senior Designer, Studio Noel

Fashion and beauty comes to mind – she’s known for being glamorous and always being beautifully dressed. I can imagine luxurious fur-trimmed pyjamas, everything in pink or a range of accessories that she herself would wear. For beauty, she could work well as the face for a range of products and vanity accessories – false eyelashes, sparkly eyeshadows, light-up mirrors and bedazzled eyelash curlers.

Homeware could have a similar vibe to fashion but translated to luxury products you could buy for your home, which she would surround herself with. Think sassy slogans on pillows and everything in pink.

Then in publishing, I can see some guides, memoirs or inspirational books from Miss Piggy. Her takes on how to live life as a diva, how to love yourself, how to be unapologetically you, or a range of diaries, calendars, journals with glamorous design and motivational quotes or fashion tips.

Jasmine North,
Licensing Co-ordinator, TDP Textiles

Of course Miss Piggy could go solo – she’s a global icon! She is the ultimate diva who isn’t afraid to speak her mind, head strong and confident. An unlikely feminist but with all of her traits makes her the perfect advocate. Even her name ‘Piggy’ usually referred to as a negative connotation, an insult even, can be turned around into positive association – juxtaposition at its finest!

With it now being announced that she has finally made it and has her own movie is quite liberating and the fact that Jennifer Lawrence and Emma Stone are behind the movie makes it even more empowering. And where would she shine? I would love to say everywhere but I think she would be a great success in the high street retailers such as New Look, Primark, M&S, H&M and Zara… Imagine the activations! Glitzy and glamorous – attracting not only magpies but anyone who loves a bit of glam in their lives.

Online retailers such as Character.com, Truffle Shuffle, Vanilla Underground and Amazon are also places that I think would work. Not only does Miss Piggy tap into that nostalgia trend but with the convenience of the online shop, fans can purchase impulsively when the hype erupts.

Millennials would remember Miss Piggy from The Muppets and her on/off romance with ‘Kermie’ or ‘Frog’ depending on whether he was in good books or not. They would also remember Miss Piggy’s talent for karate, with the recognisable “Hiii-Ya!” delivering a karate chop – or more appropriately pork chop!

The obvious collaboration would be a makeup/beauty brand as she is well-known for her extravagant eyelashes, well applied makeup and immaculate hair. Other perfect products could be hairbrushes, false eyelashes, eyeshadows – the list goes on.

I’m excited to see Miss Piggy develop and expand as a solo brand and to achieve that movie star status – hopefully she’ll get her own golden star on the Hollywood Walk of Fame!

–

Steve McInerny,
Director, Sharp Sharp Creative

I’m all for licensing campaigns being based on one character – though Fozzie Bear would have been my choice. People identify much more naturally with a character than an abstract brand, and we all know that Piggy doesn’t like to share the limelight.

Is Miss Piggy a popular enough character to sustain this? There hasn’t been a lot of recent Muppets content for kids, and she isn’t especially well-loved among Muppets fans, based on a quick trawl of Reddit’s r/Muppets feed. In the media she’s often mentioned as a size positive, feminist and LGBTQIA+ icon. These are not areas which I’m an expert in, so I asked some friends who collectively have a broader range of perspectives. For some reason they didn’t take this entirely seriously, here’s a summary of their more printable comments…

• In this time of Ozempic, celebrities and the media are moving away from size positivity.
• Piggy is in need of an update: my female friends didn’t especially identify with her extreme fixation on a male (frog) figure. And maybe it’s time for Miss Piggy to become Ms Piggy?
• There wasn’t any great recognition of her being an LGBTQIA+ icon.
• The Muppet character Sam the Eagle was jokingly proposed as being more in tune with the present zeitgeist with his more conservative, patriotic views.

So based on this straw poll, Miss Piggy has some work to do in order to become a success. Jennifer Lawrence makes the development process sound like it’s all been very vibes-based up until now, though I’m sure there are more hard-snouted conversations going on at Disney.

I’d love to see a Miss Piggy assertiveness self-help book. And surely there’s a great partnership to be had with one of the dating apps. Just don’t say pork products.

The post Talking Brands: A Miss Piggy movie is in the works… Could the famous Muppet sustain a solo licensing push? appeared first on Brands Untapped.

Paula Rich,

How would you sum up the current health of the UK licensing market at the moment?
The UK licensing market is showing a mixed picture at the moment. While there is a general sense of resilience and innovation in the industry, external pressures – including inflation, shifting consumer spending habits and global uncertainties – have introduced a level of caution among buyers and licensors.

That said, we’re also seeing brands embrace bold partnerships, sustainability, and digital evolution as ways to remain competitive. The appetite for collaborations – especially those tied to heritage, lifestyle and sustainability – is strong, and there’s a real energy in sectors like fashion, home and wellness. However, it’s not without its challenges, particularly as businesses adapt to new economic realities and technology-driven changes.

On that, what unexpected challenges have emerged this year so far?
It was a strong start to the year, with optimism in the market and plenty of creative momentum. However, the unexpected introduction of tariffs, particularly affecting transatlantic trade, has created a ripple effect. Art licensing in the US has slowed somewhat, with buyers pausing or delaying decisions on new purchases due to increased costs. This has put added pressure on creative budgets and shifted priorities for some.

Another unexpected but major area of consideration has been the rapid evolution of AI. The licensing industry is still navigating how to integrate AI tools into design workflows, as well as whether and how to use them without compromising creative authenticity. There’s also an ongoing debate about how AI impacts originality, copyright and the value of traditional artistry. It’s not just a technical challenge, but a cultural and philosophical one too, prompting important conversations around creativity, ownership, and the future of design.

What do you see as a key trend to look for across the rest of the year?
One clear and dominant trend is the return of florals, but reinterpreted in vibrant, layered and luxurious ways. From high-end fashion to home décor and stationery, floral design is having a serious moment. Sanderson’s strong presence at the Chelsea Flower Show really underscored this – as did stunning collections like the RHS collaboration by Clare Therese Gray and the beautifully embroidered Elizabeth Scarlett bags. On Instagram, it’s clear that many independent designers are collaborating with luxury stationery and fashion brands to bring this trend to life in fresh and creative ways.

Beyond aesthetics, sustainability continues to be a major force shaping consumer expectations. Whether it’s fashion, beauty or food, people want transparency around how products are made, the materials used and the values behind the brands they support. Clean, ethical and responsible design is not just a trend anymore, but a baseline requirement in many categories.

What’s the best licensed product you have seen so far this year?
One standout for me has been the Loewe x William Morris & Co Puzzle Bag as part of the broader Sanderson collaborations. It’s a perfect example of a design-led license that defies expectations. The way it merges the romantic, intricate floral motifs of William Morris with Loewe’s edgy, modern fashion design is incredibly fresh and impactful. A painted hare and floral motif meets a biker-style silver-studded shoulder strap; two completely different aesthetics coming together in a way that feels both respectful of heritage and thrillingly contemporary. It’s a masterclass in how heritage design can be reimagined for modern luxury.

Danny Heffer,
Independent Creative Director

Can you identify a design trend that you have seen emerge this year and how has it made an impact in the market ?
I’m bored of saying it, but It’s been a tough year for everyone, right across the industry – from funding new content on the IP side to retailers struggling on the high street. I feel the need for some comfort at the moment… Nostalgia is a natural reaction and I see a few things appearing that speak to this.

It’s been lovely to hear that the Gruffalo is getting a new outing, 30+ years is no mean feat and so it’s terrific to hear that it’ll bring new audiences in. I’ve been working with Magic Light on some of their properties recently and they really put the work in in terms of looking for fresh new ideas. I think this is important with ‘Nostalgia’ brands. To feel current, you need to demonstrate that the brand is alive and able to be relevant today. Otherwise, it looks like something dug out of a dusty archive.

Anniversaries are a good way to demonstrate this. They call for a bit of premium and can allow a bit of space to be creative with design and push boundaries a little. With Magic Light, I’ve been looking to use their existing assets in different ways. In our frugal, budget conscious times, it doesn’t break the bank, and the budget can be focused on design and application. Hopefully we can share it soon.

Can you share any requests emerging in design briefs this year? Are brand owners are facing any new challenges designwise?
Again, it’s that need to get bang for buck. Clients are still needing to output design but as budgets are smaller, new asset creation becomes difficult. I’ve been tasked often to use existing material in new ways to give new looks. I think this is very achievable, it’s all about the idea behind it all. I see it as a fun creative challenge, there’s always something new to be done with colour or scale or application.

Going back to what I spoke of earlier, nostalgia can often be an avenue to more content. For older brands, a dig through the archives can bear fruit. A bit of crate digging can often unveil old ideas that can springboard new ideas and new ways of looking at things.

Thinking ahead for the rest of the year, can you share one design tip that you think might prove useful to our readers…
If budgets are tight, that doesn’t rule out using external designers. We bring value and we bring new ideas to the table. Budgets don’t need to be huge to explore using existing assets, existing content. Giving things a new coat of paint and a glow up can really bring something extra to the party.

Can you highlight one licensed product, promotion or collaboration that has impressed you this year?
As it was Pride week recently, this caught my eye – or rather banged my funny bone. It’s from an Instagram post so not my own spot but I just thought it was really funny, sharp and above all seemingly effortless. You can imagine the moment the creative came up with it, a bolt out of the blue and a smile in the mind. There’s nothing much needing to be done with it visually, it’s pure idea and lovely for it. Rooting around online, it seems it’s originally from 2019 and was created to raise money for The Albert Kennedy Trust. So it’s doing some good too.

With all the visual shout out there it’s good to remember that a really good idea, executed simply and clearly can really leap off the shelf.

Copywriting is often neglected but I do think a good line here and there can really elevate things. A favourite of mine from my Aardman days was a strapline I came up with for an on-pack flour promo in aid of Wallace and Gromit’s Grand Appeal. It read “We knead the dough” – boom! Two puns in one line! I felt like I’d earned a cuppa after that one.

Jude Coram,
Owner, Apparel of Laughs

Can you identify a design trend that you have seen emerge this year?
It’s been no secret of the success East Asian culture has had over here in the West. To see their pop acts dominating the charts in the UK and USA would have been unheard of only 10 years ago, and yet Japan, China, and South Korea are now cultural powerhouses all over the world.

This has really changed the current trending styles too. A lot of design in the West leans very much on nostalgia, but the last 100 years has been used in so many different ways that there isn’t as much space to innovate. You can take your cues from the 1970s for fun, bright, rounded looks, or go “old timey” back to the 1890s with big fonts and vintage etching style. But most can see any design and tell you almost to the decade where you got that style from.

The beauty of tapping into the East Asian design scene, is that over the last 100 years they have had just as much design progress and innovation, but most of it was never transported over to the USA or UK. It wasn’t until the late 80s and 90s that we started to be influenced by Japanese design when Sony’s PlayStation and Walkmans become huge parts of Western culture. Even more recently, Chinese design and culture has opened up new, exciting and fresh ideas we can draw from over here. It works so well in the West because some of our design clichés are fading, so we have access to new possibilities and styles once hidden on the other side of the world.

This has really influenced the current design trends in my opinion. Something like the Y2K aesthetic draws on classic imagery of old video games and tech advertising that mostly came from Japan. With bold fonts, shiny gradients and big imagery, the youth in the West are reliving the late 90s and early 2000s in the image of the Japanese culture of its day. We can hark back to the good old days of countries that we do not live in, nor do we have a shared past with them – yet these styles seem nostalgic in a way that really speaks to us.

Whether this trend will continue through the rest of the 2020s, and East Asian culture becomes bigger and bigger, or if designers have taken the best elements already and assimilated it with Western design, remains to be seen. But this could prove fertile ground for years to come. If Western design feels samey, we now have years and years of culture we can tap into from new and exciting design traditions from all over the world!

Do you feel brand owners are facing any new challenges designwise at the moment?
Authenticity is a buzzword I’ve been hearing a lot. Brands that look like they are here today and gone tomorrow will not get the same response from the buying public. If your branding is following current trends, it might do well in the short term, but establishing it in the long term is much harder.

Imagine walking down the high street and you see a shop with a printed banner as its shop sign. Would you trust it compared to the shop next door that has invested in a proper 3D custom shop sign? Companies that use AI for branding and logo design might save themselves some money upfront, but will lose out eventually as customers realise they might not be in it for the long term. If a company is happy to quickly produce branding within a few hours, might they be the best choice to purchase from if their service might be as slap dash?

When I’ve been designing branding, the trustworthiness of the designs is the key factor. Serif fonts hark back to days gone by, when every shop was bricks and mortar. Using faces of real customers with more homely surroundings works better than stock images and helps build authenticity. Avoiding flash in the pan styles and techniques brings longevity.

Does this look like it could be here in 10 years’ time? Is this following a trend that would make it look old fashioned and need to be changed? Does it look like time and effort has been put into this? I believe these are the questions that more and more businesses, designers and marketers are asking in the AI-fuelled, temporary, low-effort content world of the web today.

Can you share one design tip or insight that you think might prove useful to our readers….
Firstly, if you or your business are thinking of a rebrand ask yourself these questions: Do we actually need one? Is this just for PR? If we change now, will we need one in 10 years’ time?

Anyone who keeps their ear to the ground will know about the many different rebrands we’ve been seeing in many different markets across the world. So many well-established businesses are taking the expensive plunge to rebrand, and let’s be honest, the public reaction never seems to be great. They say that any publicity is good publicity, but if people are having to take a few extra seconds to recognise your new logo, that could make all the difference. You’d think I would be advocating for more rebrands as a designer myself, but my experience tells me that if something isn’t broken it really doesn’t need “fixing.” Don’t change things for the sake of it. The 2020s is a very nostalgic decade with almost every new design trend piggy backing off an old one, so your branding is probably pretty on trend as we speak.

Secondly, just like our new appreciation of East Asian cultures, designers should look to the globe for new and exciting trends. I was fortunate to enjoy a brief holiday in France last year, and loved seeing the cultural differences between our two countries. I’m a big comic fan, so seeing the way in which the French display, draw, and revere their comics was something to behold. Our style of comic is different here in the UK, and both cultures could probably learn from the other. I’m positive this is the same within design trends and styles. Graphics in 1960s Mexico will look entirely different to graphics from 1960s Russia. As I said, the 2020s don’t really have a distinct style, as most of what we have is rehashed styles from the past. So, if that is the case, let’s get some more exciting styles and search a bit wider for inspiration. Why not look into album art from Nigeria, jazz posters from Cuba or ticket stubs from the Brazilian subway? Inspiration is everywhere, and maybe one of these is the new trend which everyone will get on board with.

Can you highlight one licensed product, promotion or collaboration you have seen this year that impressed you?
One that really appealed to me is the LEGO collaboration with Formula 1. I’m a big F1 fan and still have a love for LEGO from my childhood, so when I saw they had created some new sets of the cars, I had to have a look.

A trend I’ve been seeing recently is a huge surge towards selling items in blind boxes – another East Asian import. Customers don’t quite know what they will be getting when they open the product in the box. LEGO has been doing this quite a while with their collectable minifigure ranges but have utilised the selling style perfectly for their new F1 range too. Not only are they selling larger models featuring classic F1 cars from yesteryear, they are also selling small versions of this season’s cars in blind boxes. This means you know more or less what you will be getting – a small LEGO F1 car – but you don’t know which car exactly.

I bought one and got one I liked so I told myself I didn’t need to buy any more. But you could easily get a car you didn’t really fancy, and then buy a few more hoping for a better one. A very clever way of people trying to get the whole set. Aside from the smart business strategy, it is an affordable and fun way for F1 fans to buy a little shelf filler to represent their love for their favourite sport. You could imagine them doing this with the Premier League teams perhaps with a LEGO figure for each star player of each team. LEGO Mo Salah anyone?

Maria Thomas,
Director, Doodlebug Design

Can you identify a design trend that you have seen emerge this year?
I know the obvious is to say is AI, but for me this has only really come into our work this year. It’s a useful tool to help with thinking processes and any help with innovative and out of the box suggestions are great. I think this will help to move the market at a quicker pace. Having said that, although I like to think I am forward thinking and happy to move with the times, for me a good brainstorming session with colleagues is a far more interesting and helpful way to collect ideas from different mindsets!

Can you share any new elements or requests emerging in design briefs this year with us?
Design briefs requests haven’t changed so much, but we are generating a lot more final artworks much earlier than previous year’s due to high demand for production samples for sales purposes. I think brand owners face challenges every year to keep things new and interesting for the licensees and designers… Following trends and creating innovative stories can be tricky year after year, but we have seen some great design assets.

Can you share one design tip or insight that you think might prove useful to our readers….
Don’t totally rely on AI or the internet for all your ideas, even if it is time saving! Keep your brain active and be creative, visit exhibitions, go to the stores, look around you, see what’s out there… What’s the worst that could happen? You could have a great day out of the office away from your computer and refresh your mind ready to tackle the next job!

Can you highlight one licensed product, promotion or collaboration you have seen this year that impressed you?
Mummy Pig being interviewed by Richard Arnold live from Peppa Town on Good Morning Britain was brilliant. That was a very clever way to tell us all her family was growing as she was expecting a baby! And then they made a royal announcement of the birth on GMB with the report making it onto the evening news and the daily newspapers! Genius! The design assets to go with this story are really beautiful so you will see some stunning product going out there.

The post From floral fever to AI fears: Industry figures discuss highlights, trends and challenges of 2025 so far… appeared first on Brands Untapped.

David Born,

More…
Openness to work with innovative companies that have less-to-no experience in licensing. As an industry, we must continue to innovate and evolve, and welcoming newcomers into the licensing world is key to that.

Less…
Acquisition. There’s been a lot of consolidation in entertainment over the last ten years… And that’s resulted in major licensors having to prioritise key properties across their growing IP portfolios. This has then led to some great IP being neglected.

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James Hinton,
Head of Creative and Marketing,
STUDIOCANAL Kids & Family

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Celebrations for the incredible creative talent within the licensing industry… From agencies through to product developers and designers at licensees. They’re the backbone of what we do. Some of these individuals aren’t naturally inclined to shout about their work, so I think it’s on industry leaders to call out these talents.

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Reliance on formulaic design directions. For instance, blue for boys and pink for girls. We know why we sometimes fall back on these creative tropes, but any time we can push the boundaries of creative conventions we should try.

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Katie Huber,
Senior Director of Licensing,
Fred Rogers Productions

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Unexpected collaborations and out-of-the-box thinking in how brands approach inbound and outbound licensing. A unique union of two unlikely brands coming together creates industry buzz and generates consumer demand. It allows the general populace to engage with products, characters or companies that weren’t previously in their line of sight. I’m excited by the prospect of the industry delivering more of the unexpected.

Less…
Of the standard formula approach to licensing. Like most industries, licensing operates with a particular ‘playbook for success’ that could benefit from some disruption and a new way of working. Operating outside of the rulebook can pave the way for innovation and large-scale success across the industry, especially for brands with small but faithful followers. I’d like the industry to rely less on how things have been done historically and instead imagine and operate with a fresh approach to broker deals and measure success.

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Ian Downes,
MD,
Start Licensing

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Commitment to ‘authentic licensing’, creating products, promotions and partnerships that are firmly anchored in the DNA of the licensed brand – with a commitment to providing a good experience for consumers. I think this approach resonates well with fans and adds value. Dare I say it’s authentic?!

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Hype – and more substance. The licensing industry should take a more serious and mature approach to the sharing of data, insights and qualitative information. Hype gets you so far, but we need to ensure we’re an industry that’s credible and compares well to other marketing disciplines.

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Anthony Marks,
Founder & MD,
Fanattik

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Openness. Exhibitors should have one member of their team open to walk ons. One year, I saw a medium-sized stand with no visitors, just staff waiting for appointments. I asked the front desk if I could speak to someone and was told it was appointment only. I explained I’d flown over so if someone could spare five minutes I’d appreciate it – but was told no. I know how crazy schedules can be, but having a junior member of the team there to filter through the walk ons is a good idea.

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Inflexibility please! Retail is changing fast – and fans want more unique products. It’s taking a little time for some retailers and licensors to understand that creating these unique pieces – which are going to be shouted about on social media – will take longer to get over the line than traditional product. Two-year licenses should be a thing of the past… Three-year minimums should be the way forward.

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Lana Zoppi,
Design Director,
Studio Noel

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IP crossovers/collaborations with pop-culture outside of entertainment – musical artists, restaurants, grocery store food brands, sports, web/social media platforms, etc. The world has expanded, and the fight for attention has increased significantly. By partnering with outside-of-the-norm brands, we can increase visibility and reach fans that we may otherwise would not have.

Less…
Well, it’s not exactly something I’d like to see less of, but more something I’d like to see action on. Overall, I’d like to see all levels of the industry work together to find collaborative solutions to the tariff issue. Rather than waiting for the shoe to drop.

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Mandy Bardisbanian,
EVP of Licensing & Retail,
Striker Entertainment

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IP crossovers/collaborations with pop-culture outside of entertainment – musical artists, restaurants, grocery store food brands, sports, web/social media platforms, etc. The world has expanded, and the fight for attention has increased significantly. By partnering with outside-of-the-norm brands, we can increase visibility and reach fans that we may otherwise would not have.

Less…
Well, it’s not exactly something I’d like to see less of, but more something I’d like to see action on. Overall, I’d like to see all levels of the industry work together to find collaborative solutions to the tariff issue. Rather than waiting for the shoe to drop.

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James Oddy,
Co-Founder,
Vize Creative

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Sustainable fashion. Licensing agreements focusing on eco-friendly materials and ethical production processes are gaining traction, aligning with the global push towards sustainability. Today’s consumers, especially Gen Z and Millennials, care about how and where their clothes are made.

Less…
Well, I like to approach things from a positive angle, but I do think there’s a real disconnect when celebrity-driven licensing lacks authenticity. Licensing should prioritise authentic collaborations where celebrities and influencers genuinely contribute to the creative process and are underpinned by the same DNA.

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Stephanie Griggs,
Founder & Creative Director,
Studio Griggs

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Acknowledgment and action around the climate crisis. Organisations like Products Of Change are doing an incredible job at enabling positive progress in the industry, but we could all do more. And what once felt like a moral responsibility or niche concern is fast becoming a commercial imperative. But it’s not all doom and gloom – this is an exciting opportunity for creative thinking! By collectively pooling ideas, sharing solutions and investing in innovative solutions for materials and manufacturing, we have the power to drive change.

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Emphasis on the end result of a new product alone, and more insight into the process and ideas that got it there. A launch is always a celebration, but increasingly both B2B and B2C audiences are craving a peek behind the curtain and to be taken on the journey from spark of idea to fruition. As the Chuckle Brothers wisely said, ‘To Me… To You’. It’s a proper relay getting something out in the world… So, let’s celebrate the beauty of the process, and at the same time inspire a new generation by showcasing the breadth of collaboration.

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Barry Darnell,
CEO,
Analogue

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Fun and joy. More remembering that we get to work on the brands that shaped our childhood – and the ones that will shape someone else’s. Let’s play a little more in 2025. Be bolder. Push boundaries and value true partnerships, the best work doesn’t come from briefs alone – it comes from conversation, trust and collaboration.

Less…
Content for content’s sake. Less leaning into nostalgia, it isn’t infinite – handle it with care. Less worrying about AI taking over the world. Less last-minute briefs. Less creative layoffs.

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Andrew Levy,
Founder,
Ateliers Verts

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Collaborations with other marketing disciplines. Licensing is just one element of the marketing mix. This could expand the usage of licensing into different sectors allowing for more creative exploitation.

Less…
Of a homogeneous marketplace of the industry’s usual players… Be they licensors, licensees or associations – from a UK perspective. The industry needs a mechanism which focuses on addressing the needs of UK companies and people, to foster inclusion for new entrants and upcoming businesses.

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Ari Freedman,
VP of Licensing,
Surge Brands

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Innovation. Licensing should be about pushing creative boundaries while staying true to a brand’s heritage. We want to see more strategic brand extensions that truly enhance a brand’s identity, rather than just replicate existing products with a new logo. One of the most exciting areas for growth for us is the food and beverage sector, which continues to be a high-demand category. There’s enormous potential for partnerships that blend nostalgia with modern culinary trends, and we’re focused on tapping into that.

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Fragmentation and confusion in the marketplace. Too often, we see brands divided among multiple licensees in overlapping categories. This dilutes their impact. A more strategic and cohesive licensing approach strengthens brand equity and ensures products resonate with audiences, rather than getting lost in the crowd.

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Dan Janssen,
Creative Director,
Lincoln Design Co

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Brand activations and in-person interactive activations that bring IP to life for the consumer. Similar to what Netflix did for Sakamoto Days.

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Collaboration that doesn’t make sense! Brands need to have a story or history behind a collaboration, not just be collaborating to make money or for no reason.

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Heather Laing-Obstbaum,
SVP Global Creative & Product Development,
Warner Bros. Discovery Global Consumer Products

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Amazing food and beverage partnerships to surprise devoted fans! It’s an incredibly exciting category with huge potential to get creative. We recently launched new Harry Potter products inspired by Butterbeer Season. It’s been incredible to bring this iconic flavour to life through cookies, popcorn, and many other fun treats.

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Of the challenges and blockers we all have to deal with at some point during a project – because I always want to see more of the exciting things our incredible industry is capable of!

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Diane Bolduc,
Director, Licensed Consumer Products,
Global Toy & Game, Hasbro

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than ever, it’s important to stay true to the brands we represent. Our focus should remain on creating products that are grounded in each brand’s unique identity, deliver core play value and celebrate the joy of play for kids and adults alike. By staying anchored in this purpose, we ensure our brands continue to resonate with consumers and provide a sense of stability, connection, and fun – even during uncertain times.

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Of a broad approach, and more of a thoughtful approach when considering which brands to license. Not every brand or IP is a natural fit for every product. When we try to apply IPs too broadly, we risk falling into a trap of “creative art slapping,” which ultimately dilutes both the brand and the product. Today’s audiences aren’t just looking for familiar characters on existing formats; they’re expecting innovation, authentic storytelling, and unique play value. Simply adding licensed art to drive sales isn’t enough anymore.

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Justin Watson,
MD,
Asembl

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Retailers introduced to the power of licensing – particularly how culturally relevant brands and IP can drive foot traffic, attract new audiences, grow category and elevate in-store experiences. I’d also like to see greater emphasis on data-led decision-making across the industry. The future of licensing is smarter, faster and more collaborative – and data is the enabler.

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Replication. The industry too often repeats what’s worked before – same categories, same creative, same rollouts – but consumers, especially Gen Alpha and Z, are demanding more. It’s time we treat licensed collaborations as cultural moments, not just transactions. That means rethinking what licensing can be, and backing ideas that create impact well beyond the shelf.

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Felipe Noriega,
VP,
YuMe Toys

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Speed! We’d like to see faster product approvals from licensors so we can better meet the needs of both retailers and fans.

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Counterfeits. Licensed partners invest heavily in royalties and this needs to be protected. We’d like licensors to take more effective, consistent action to tackle counterfeiting.

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Danny Heffer,
Freelance Creative

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Comedy and nostalgia! It’s going to be a tough year and licensing’s job in these kinds of situations is to provide an escape – a safe, warm, happy place that gives a bit of respite.

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Reliance on the big mouse from retail. I’d love to see them invest into more diverse IPs. One trend I’ve noticed recently is a lean into ‘inspiring figures’, mainly in art licensing. But there’s a world of cool inspiration and iconography to be mined.

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Sissel Henno,
Head of Global Sales,
Licensing & Retail, STUDIOCANAL Kids & Family

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Innovation in product design and functionality. I love the work that some of our partners have been doing around sustainable solutions. Not just the materials they use, but also how the product shape impacts how it can be stacked and shipped to save on space, carbon footprint and cost.

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Of a fixed mindset. Opportunities are missed when we’re not attuned to changes in consumer behaviour and shifting priorities. Those companies willing to take risks and continually adapt will reap benefits in the form of boosted brand engagement and sales.

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Adam Bass,
MD, Golden
Goose

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Collabs between unexpected brands.

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High-margin premiumisation without adding any real product value.

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Sophie Bloomfield,
Creative Director & CEO,
Sophie Bloomfield Consultancy

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Emphasis on sustainability through services. For instance, brands could follow the Nudie Jeans example of offering a repair service. Imagine a denim collaboration where the licensed product not only features the partner brand but also promotes this sustainable service. Licensing could explore dedicated services or experiences that engage consumers directly. For example, a ‘fix your own clothes’ workshop featuring a popular character. These initiatives would add real value, blending entertainment with practical life skills.

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Character slapping. This is when a generic product, unrelated to a brand’s story or values, is simply stamped with a popular character to drive sales. These products often end up in clearance bins or charity shops, feeling wasteful and unsustainable. The industry would benefit from focusing more on thoughtful collaborations that align with meaningful narratives and consumer interests.

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Sue Perez-Jackson,
Senior Director, Licensed Consumer Products, Merchandise, North America,
Hasbro

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Branded retail experiences. While e-commerce growth and increasing .com penetration are essential, physical retail has significant untapped potential. The opportunity lies in cross-category programs that offer a seamless, one-stop-shop experience. A great example is the Target Poppi collection. It wasn’t just about selling a product; it was about creating a distinctive in-store experience that piqued curiosity.

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Of the industry putting all of its eggs in one basket and overlooking the potential of other brands or concepts. Too often, there’s a tendency to double down on what’s already been proven, which can stifle innovation. Testing and learning should be a bigger part of the strategy. The willingness to experiment creates room for growth and diversification, which pushes the whole industry forward.

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Stuart Hunt,
Marketing Director,
Major Look

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Opportunities for people to directly engage with the brands they love, creating ways for them to share ideas and influence licensing directions. LEGO Ideas is an example of how this can be done brilliantly – allowing fans to upload their own model designs for others to vote on, with the most popular often becoming official sets. Building positive communities that nurture play, imagination and creativity would be hugely beneficial.

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Short-term thinking and more long-term partnerships that prioritise storytelling and build on a brand’s heritage. Developing licensed products that feel like a natural extension of the brand – personal, authentic, and collectable – is always more exciting for fans.

The post More or Less… appeared first on Brands Untapped.

Was there a ‘best in show’ toy range you saw?
I’m really into what Paper Engine are doing at the moment. It feels like a really quality product, being attractively packaged and branded coherently as a range. The product is great – a nice lean into construction and engineering and then some decent play value after the build. The new 3D Marble Maze looked great on the stand.

Paper based toys have all looked a bit ‘worthy’ in the past, a bit like brown bread, we all know it’s good for us but do we really want it? This feels like a toy that has merit beyond it being sustainable. It’s a good use of the medium. I look forward to seeing where they go with it next. They’ve dipped into licensing with Aardman, I wonder what’s next on the slate? Transformers maybe? Paper-based Meccano?

You mention sustainability – is the increased awareness around sustainability influencing the toy market at the moment?
I think it’s becoming more ‘built in’. It’s moving from being a gimmicky call out to just being an intrinsic part of the product. It’s expected now and should be how we’re all creating and producing. I saw fewer stands with a ‘sustainable’ section and more with it just being part of the general product range. Hooray for that.

Licensing-wise have you picked up on any new trends going into 2025?
I saw lots of new ranges that had tactility as a thing. Squishy, stretchy, furry, sticky… I guess we have Squishmallows to thank for that in part. It’s a reason to not buy digital I guess and reinforces actual physical play.

You also attended Spring Fair recently. Focusing on Heritage brands, how were these shaping up design-wise at the show?
There’s a few things going on. In the Heritage area, I’m not seeing much in terms of variety. A lot of Heritage organisations are moving into licensing, but I think they’re missing a trick by not looking for what’s unique about their collections. Or asking themselves what their overriding mission or function is. I’m kinda over William Morris! Or at least that floral pattern look applied to greetings or textiles.

Museums have mind bogglingly rich collections; it’d be great to see some more crate-digging to see some new looks and styles. They have always been places of inspiration and thought leadership, so I’d love to see them looking forward on trend and pushing the envelope. Admittedly they have a core audience that loves that look – particularly overseas – but that audience will age and move on. How can they bring newer audiences in? The idea of museums as an inspirational resource is a lesson for us all so perhaps a curated collaboration with an outside designer or brand is a way of engaging… I worked with Barbour and Shaun the Sheep recently to create an ‘inspired by’ fleecy waxed jacket, bringing the values of both brands together. It would be interesting to see what Museums could do with that principle.

And how about the greetings cards space? What excited you there in that sector?
Well greetings was a different picture! There’s a freshness there I feel. I’m seeing a lot of Shrigley-esque handmade designs that look like they’re straight from an indie designer’s studio. Really bright, colourful and, above all, funny. I’m all for funny – aren’t we all at the moment? I see board games and greetings being quite aligned in that surreal humour these days. I wonder if each can feed off each other?

I was also struck by the size of the market. Predictions were that with the progress of technology, card giving and gifting would be on the wane but it’s clearly thriving. Card shops are still there on most high streets. I think it’s really heart warming that we’re all still thinking of each other enough to keep that going.

Final question! Having been to a couple of tradeshows, do you have one piece of advice for exhibitors about how they can get more out of their stands?
Show don’t tell… I think stands that create retail-like environments really work. They do that hard work for buyers in showing how to merchandise and range their stores. Functionally, and at Spring Fair in particular, having something to take away would be handy. Often stands are busy and there’s not a chance to talk to anyone. Having something to pick up on later with contact details would be handy. Print isn’t dead!

Lastly, free foot massages please. I did 20,000 steps on Tuesday!

That would be nice! Great insights, thanks Danny.

The post Freelance creative Danny Heffer talks trade show highlights – and why heritage brands might be missing a trick… appeared first on Brands Untapped.

It was – and still is – an amazing place to work. The exhibition programme was so varied and interesting, I stayed there for six years. Vivienne Westwood, Versace, KYLIE! What a line up! I’d just moved to London and there was a real buzz about the place. Lots of hard work… Lots of parties too. The team were like family; we held a reunion last year and it was testament that quite a few are still there – including the Queen of Heritage Licensing, Lauren Sizeland. I really miss working with them.

“Projects seem smaller, but there are more of them.”

After the V&A I freelanced for a few years, working mainly on other heritage and museum projects – The Tate, The National Gallery, The Science Museum… Also some fun art projects with Gilbert & George and Antony Gormley. Again, very varied and curiosity driven; building on the things I’d learned at the V&A.

About 20 years ago I moved to Bristol and started looking for something closer to home, finally landing at Aardman. A very values-based business and similar to heritage in that there’s a real reverence for the ‘product’. That felt like home for a good while. Working across marketing and licensing, finally as global creative lead on all of the Aardman properties. I learnt so much there and that’s when I really began to understand licensing.

Last year I decided I’d run out of sheep gags and needed to move on… So I’m currently freelance, working on heritage and family-centric projects on the whole.

That’s not quick. Sorry!

You’re forgiven! Now, when you first ‘connected’ with the world of licensing what were your first impressions of the industry? And what’s been the biggest evolution?
Back in the Noughties it was a very different industry. Obviously there have been big changes along the way, with the market broadening and coming of age. The biggest change really has been the advent of social media and the internet. Connecting fans, connecting territories, creating and driving trends… I think this has made the industry much more inventive and agile. Projects seem smaller but there are more of them. Thinking differently makes you stand out and gain traction; it sets you apart from the herd so to speak.

“There’s authenticity in museum products.”

And we’re back to sheep puns! Having worked at the V&A, why do you think there seems to be an increased interest in heritage brands at the moment?
Because there’s some amazing stuff in them there collections! Actually, I think there’s a few things going on… Firstly, museums have begun to appeal to a younger, cooler demographic. The Bowie exhibition was a good example of a complete rock star sell out. Banksy at the Bristol Museum and Art Gallery was another. They’ve changed the perception and made museums a cool thing to visit – and ultimately shop at.

They’re in a unique position in that they can work with some seriously big names, but create product that’s quite accessible and affordable. The V&A Versace t-shirt outsold the Versace t-shirts by a mile, because they were cheaper – but also because they were bespoke. It gives everyone the ability to own a bit of the brand.

Secondly, there’s authenticity in museum products. If a design is in a museum, it’s usually there because it’s stood the test of time and is a design classic. Who doesn’t want that? They come complete with their own brand story, something that can take years to build.

Let’s delve into your work in creative. What makes a good style guide?
A couple of things that I think are often missed are inspiration and application. They tend to get trimmed from the budget early on, but I think there’s a real value in them. Once the assets are there, it’s really important to inspire the licensee to go beyond the original idea. Licensees will buy into the guide for a particular reason, which can be quite focused – rightly. Providing inspiration and showing how to stretch a brand gives a deeper relationship and has longer term potential; it gives everyone more bang for buck.

Application is important because it maintains the vision for how to use the assets. I often design in a way that allows multiple ways of using a graphic… But if we only see that graphic on a flat page then that can’t be shown. In that way we restrict the creative a little and it all loses some potential. If a budget is limited there are creative ways of using a single asset, but in many ways, creative application can save the need to create endless assets.

“Local audiences often mirror their identities onto the character and take from it what they want.”

Good answer! Do you have any tips for brand owners setting a brief for a style guide?
Keep the brief loose. Have a goal in mind, but work with the designer to figure out how to get there. Be careful what you cut due to budgets. More assets don’t always equate to more return, so don’t sacrifice the peripheral ‘explainy’ bits of the guide.

Have design needs and requirements changed in recent years?
In the past, it was all about the ‘core guide’. Needing a set of definitive rules that policed a brand. Today it’s a very different picture. I think the market thrives on new and bespoke, so the need is to show how this can be done, while maintaining the brand’s integrity.

How do you cater for retailers who are interested in licensed products?
Retailers increasingly see licensed product as collaborations. Retail brands are so strong these days that bringing in character needs a story and a reason. The ones that work are a delight and I think audiences get real pleasure from them.

I worked on a Shaun the Sheep x Barbour campaign recently and we really worked hard on the story there. Having animated ad content was important to the campaign as it helped explain why the two brands were together and what values they shared.

Having said that, I think the pun ‘BAA-bour’ would’ve done the job alone!

Ha! During your time at Aardman you worked a lot in the Japanese market. Can you give us some insight into that market’s needs design-wise ?
Ah, I love Japan and I loved working with the local team over there. The market is the epicentre of licensed characters. It took me by surprise in that it’s not particularly innovative, but it is everywhere. Licensed cabbages were a fave!

Design is very seasonal and very trend-led. The usual form is that a seasonal trend appears and all characters conform to this style. This year it’s softer, pastel colour with calm relaxing posing. So, brand owners need to be comfortable with that… Recolouring art, providing new poses and assets to keep up with this. I guess character is so ubiquitous that the value is in novelty – fans really want to see characters mixing with each other, influencing each other. That’s the fun.

What are the challenges for a UK-based brand owner when designing for a global market?
The first thing to understand is that one design doesn’t suit all. My experience has been that territories have individual requirements. Local audiences often mirror their identities onto the character and take from it what they want.

Take Shaun the Sheep for example. In Germany, they appreciate the wholesomeness of the world, being on a farm in the countryside. So we could steer design to focus on the great outdoors, food provenance, holidays, the fresh air… In Japan, Shaun is seen as a very calming, relaxing character. Something to chill out with at the end of the day… So design is calmer, majoring on apparel, homeware and self care.

Obviously that’s quite intensive on assets. You have to fuel the fire. Novelty is the driver.

What tips have you got for designers around keeping in touch with market trends?
Stop looking at Pintrest – disclosure, I spend all day on there – and get out onto the high street. I think people watching and store visits are vital. It’s important to get out of your comfort zone too, everywhere from Home Bargains to Harrods. They’re equally good and, let’s be honest, most of us shop in HB these days.

Finally, over your career to date, can you highlight your three favourite products or projects you have been involved with?
When I was an illustration student a hundred years ago, we all wanted to do a Radio Times cover, so they were favourites… I think I did two at least at Aardman – plus a few other Sunday supplements. “The Farmer’s Llamas” was a Christmas cracker. There is still nothing like seeing your work on shelf, and part of the pleasure is working with such a big team on those images. Brand managers, model makers, photographers, electricians, carpenters, retouchers and runners. Such a great team effort.

The Royal Mint Wallace and Gromit 50p coin was another bucket list project. Working with the Mint was just incredible – the hands on craftsmanship of the team there was really unique. To see a drawing go from page, to maquette, to mass produced coinage was a privilege. Also, their factory canteen lets you have half chips, half rice with the lunchtime curry.

Ha! We’ve interviewed them before and I’m disappointed that didn’t come up. Any other highlights?
I’d have to say the recent guides for Historic Royal Palaces with The Point 1888. A really knotty problem-solving process which led to a really elegant solution.

It felt like a real team effort between United Creatives, HRP and The Point. For once, many cooks didn’t spoil the broth – all brought a little of their own seasoning. Tasty!

I also loved working on a sci-fi movie. We just went NUTS with lens flares and stardust and neon. SHEEEP IN SPAAAAACE. I think we had E.T. running on a screen in the background pretty much non-stop.

Thanks again Danny.

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Danny Heffer, Design Director, Dynamo
Having moved house recently I’ve been spending a LOT of time at the builder’s friend, B&Q. It’s a really interesting mash up of people in there now… Obviously your archetypal builder, dashing in for a forgotten screw or two, but there’s an increasing demographic of families, students and couples looking to improve their homes or fix up their rentals. It’s a growing market.

While in there, you realise what a strong brand identity B&Q has… That orange, the no nonsense approach and the robust, ruggedness of its product. I think that’d be a great fit for gifting, particularly around Father’s Day. I’d much prefer a new drill to socks any day – sadly my kids don’t read Brands Untapped so are unlikely to get the hint!

I was in Japan recently and a trend I spotted there was the Ikea brand being applied in a similar way. Much like we’ve taken to Muji for great design at a good price, Japan has taken their Scandinavian values to heart. It was fairly common to spot fashion aware teens carrying Ikea totes or T-shirts. The blue bag is so mundanely ubiquitous that it’s become iconic, but they’ve moved that on to fashion items and have grown their original offer.

So, take that as an idea, apply it to B&Q and what do you get? Well-made, long-lasting work and leisure wear. The orange bucket as a flower vase? Safety boots on the catwalk? What about B&Q X Ugg? For sure they could be selling ‘Builders Tea and an Indestructible Mug’. If Ikea can do it, you can B&Q it!

Ian Downes, Director, Start Licensing
When I was walking the aisles of the Spring Fair at the NEC, there were a number of products and brands that caught my eye. Many of them I had chance to chat to and hopefully some business opportunities will emerge from these tradeshow conversations.

One I didn’t get chance to talk to was the Ordnance Survey… Ironically I couldn’t find their stand after initially spotting it as I strolled past on my way to a meeting! In my defence I have subsequently found out the stand was actually a licensee’s – so in many ways I may be highlighting this opportunity a bit late in the day, with Weekend365 already on board as a gift licensee for Ordnance Survey.

That said, I think there are opportunities with gifts focused on specific locations and regions, as well as with products where locations are linked to specific types of gifts. For example, food products matched to place names and maps. Looking at Weekend365’s website, they are certainly travelling in the right direction. As well as Ordnance Survey, they are selling gifts associated with a range of locations, places and maps, and they boast a contemporary design style which suits gifting. They are also focused on personalised products, which reflects the fact that consumers are seeking out more bespoke gifts; products that show some thought has been put into choosing the present.

Susan Baker, MD, Atlantic Mats
I think David Austin Roses would be a fabulous brand to expand in the gift sector. They already market a small – and beautiful – gift range with products such as home fragrance, china and vases. However they could consider licensing to expand this further.

The brand is a well-established, premium name in the plant and garden sector. It has a strong heritage and exudes Britishness. I would love to see homewares such as rugs, wallpaper, lighting and textiles; both home-textiles and furnishing fabrics.

Naturally, the brand provides many opportunities for outdoor living; weather proof soft furnishings, ceramic pots, table-ware and exclusively styled plant supports. I could also see garden tools being in demand. Stationery remains on trend for gifting and as a personal treat. Beyond diaries and notebooks, they could consider planners and wellness journals.

At the premium end, the brand would also lend itself to stunning jewellery items, all inspired by heritage blooms.

The post Talking Brands: What brands could be a great fit for the gift market? appeared first on Brands Untapped.