The AW2025 range focuses on five core anime properties:

One Piece – Spanning new lines of Pocket Hero mini figurines and DZNR plush collectibles.

Attack on Titan – Launching a range of 9cm collectible figurines.

Dragon Ball Z – Launches span both Pocket Hero and DZNR ranges, including fan-favourite characters.

Jujutsu Kaisen – New launches in both Hero Box and DZNR products, which add to the existing YuMe collectible ranges.

Spy x Family – This range expands with new Bobble Hero’s and DZNR plushes.

Looking ahead to 2026, YuMe’s anime slate also includes Oshi No Ko, My Hero Academia and Haikyu!!.

“Anime’s momentum shows no signs of slowing down, with fandom that spans and connect generations,” said YuMe’s Felipe Noriega.

“From long-standing anime fans, through to kidults, and on to today’s youth streaming fans, we see anime collectibles as a go-to in the toy sector. We’re proud to be part of that movement with YuMe’s original designs which celebrate each and every series.”

The post YuMe Toys bolsters anime slate appeared first on Brands Untapped.

David Born,

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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.

The team at YuMe Toys is a well-oiled machine when it comes to launching toys into the market to coincide with certain tentpoles. In an era marked by rapid technological advancements and ever-changing consumer preferences, speed to market has become the ultimate priority for toy companies like us.

Gone are the days of leisurely product development cycles. Today, success hinges on the ability to swiftly translate concepts into reality and ride waves of popularity when an IP nears its peak. That way, toys became part of the buzz among consumers, fandom, influencers and media.

One of the primary drivers behind the need for speed is the relentless march of technology. From augmented reality to artificial intelligence, toys are embracing cutting-edge innovations at an unprecedented pace. At YuMe, we use AI to speed up the early stages of product development, graphic design and marketing campaign creation. We apply the latest digital 3D drawing tech to accelerate our product development.

But it’s also about having a business that’s nimble in its decision-making process and a small, global team who are ‘always-on’ executives. What makes YuMe special is our round-the-clock, 24-hour development process. It never sleeps! When one office pauses at the end of the day, the next office picks up and continues the product development.

Speed to market isn’t just about meeting consumer demand while an IP is at the height of its popularity. Rather, it’s also about staying ahead of the competition. For every product we launch, there’s a new creative process, shaped by the characteristics of the target audience and a brand’s DNA.

YuMe doesn’t work on a ‘one-size-fits-all’ approach. Our creative teams constantly keep abreast of upcoming trends to remain relevant to consumers’ ever-changing appetites. In the fiercely competitive landscape of the toy industry, being first to market can make all the difference. And in an industry driven by trends and fads, timing is everything. Agility and adaptability are no longer optional: they’re essential survival skills. Speed to market will only become more necessary. Consumers want fandom self-actualisation now.

“What makes YuMe special is our round-the-clock, 24-hour development process. It never sleeps!”

The post Need for Speed: YuMe Toys’ Felipe Noriega discusses fast-paced product development appeared first on Brands Untapped.

We had to look at how to leverage our 20 years of skills, capabilities and commercial network and spin our business successfully… That’s when we set up our standalone toy business, YuMe Toys, and our standalone licensing agency, Licensing Matters. So I came into the toy industry as the company pivoted into this area.

And Gurdeep, as Global Creative Director, what set you on the path to design?
Gurdeep Bains, Global Creative Director, Maxx Group & YuMe Toys: I’ve always been creative. From an early age I loved sketching and drawing my favourite cartoon and comic characters. When I was younger, I used to create cardboard models of vehicles and spaceships that I used to watch on TV, like the Star Trek Enterprise and Batman’s Batmobile. I knew then I wanted some sort of career in design.

I enjoyed studying Art and Design at school and when I went to Brunel University, I studied Industrial design and technology. I liked playing with toys when I was a kid and always used to think how I could improve them. However, I never thought I’d go into a career where I would be designing them.

Oh really? What did you have your eye on?
GB: I thought I was going to be a product designer at Dyson or Apple! As an industrial product designer, you always look at those companies. I actually ended up in a manufacturing company before starting at Maxx. It’s at Maxx where I started out as a designer working on promotions for global brands and collaborating with many entertainment licensors. This was my first step in designing products for a younger audience, and I’ve continued on that path as we’ve set up the YuMe Toys division.

Let’s discuss the recent launch of your Disney 100 capsules. What led the launch of this range?
FN: At the heart of the range is our eagerness to join Disney in celebrating some of the most famous characters within their portfolio – and the item is both collectable and playable. Everyone from kids to adults will be excited about celebrating 100 years of Disney through this range.

Gurdeep, on the design side of things, what were you looking to achieve?
GB: Many collectibles on the market are very straightforward. You open up a bag, get a product and that’s it. We wanted to offer something different and really get under the skin of the IP.

We take consumers on a journey through an opening experience and the product itself is great quality and highly sophisticated in terms of poses. On the journey, consumers get clue cards that tease who the character hidden inside is. These include magical effects like water reveals and heat reveals. It’s a fun, engaging experience.

The lid and the bottom come off the capsule and can be constructed to form a really nice display. Then you get your character, side character and accessories.

FN: From research on how the human brain works in infants aged three to four, we know it’s at that age that we start to experience anticipation. That’s when the brain starts producing dopamine when anticipation and uncertainty are satisfied by a resolution. So, part of the reason kids really enjoy this type of product is that their young brains get the satisfaction of dopamine hits through the resolution of the mystery and suspense the capsules create.

You’ve launched collectibles for brands like Stranger Things, Harry Potter and now Disney. Each time, the toys have been very stylised. They aren’t just a straightforward translation. What guides how you put your own spin on iconic characters?
FN: It’s fundamentally a commercial decision. Stranger Things aside, most of these IPs have been done to death in toys and collectibles, so we have to stand out while also still appealing to our target demographic. If we go too far in one direction, we could lose the collectors. If we go too far the other way, we may lose the kids. It’s a fine line we have to walk until we find a style that meets the commercial necessity of mass appeal, while remaining faithful to the IP and the licensor.

GB: With character illustrations, you could keep tweaking and tweaking. We come up with loads of iterations before settling on a style that works best for a mass audience. As Felipe says, it has to be unique to YuMe while also maintaining the integrity of these characters. And it’s worth remembering that it’s not just kids buying our product. We have lots of adult fans. When we launched our Harry Potter range, we saw adults coming into stores to buy whole CDUs!

With your Disney range, you’ve got 100 years of characters to choose from. You’ve got Woody, Mickey, Moana, Simba… What dictated who you went with in the end?
GB: We worked closely with Disney and they have a lot of data around the popularity of different characters. We also have our own personal preferences, but we tried to choose the ones that our audience would recognise and want – ones that are most appealing to most people.

We’ve also included some side characters, because sometimes they are just as appealing as the main characters. For example, Alice comes with the Cheshire Cat and Pinocchio comes with Jiminy Cricket.

Smart move. I’m a big Emperor’s New Groove fan and I see that missed out – were there any characters that you found particularly painful not to include?
FN: Ha! I’d say Steamboat Willie. Some of our creatives were adamant that we should include him because of his place in Disney’s history. I wanted to include him too, but we had to take a commercial decision not to. Rightly or wrongly, not enough consumers, especially kids, would know who the character is. Some people might have assumed we’d got Mickey wrong as the stylisation is different from the modern Mickey we know today!

This range centres around the anniversary, but do you see more collaborations with Disney down the road?
FN: We see this as a foundational collaboration with Disney. We’re already working on the next few projects with them.

So there’s still hope for an Emperor’s New Groove collection…
FN: Ha! Well, you know I’m from Peru so I should be rooting for it… Consider it a done deal!

GB: Felipe might have an internal battle there as his commercial instincts kick in!

FN: I’m ready to throw away my commercial convictions for this one. Billy, did you know in this office, we only drink Peruvian coffee? It’s non-negotiable.

Ha! Rightly so! Now, looking ahead, what else should we be keeping an eye out for from YuMe?
GB: The second series of both our Disney 100 Surprise Capsules and our Stranger Things Upside Down Capsules are hitting shelves on the second half of this year. And we’re expanding our capsules range even further with great new IPs such as Marvel.

We’re also working on comprehensive collectible ranges featuring some of the hottest anime properties out there, including Jujutsu Kaisen, which is shipping imminently and, if I may say so myself, is looking amazing.

FN: During the second semester of this year YuMe will be penetrating the stationery category for the first time, featuring super popular video game and anime properties. We are tremendously excited about the take our creative team has come up with for these products.

GB: Away from capsules and stationery, one of our new categories is our collectible, premium DZNR – pronounced “Deeziner” – plush. We’ve looked at printing techniques and with some characters, we’ve introduced a 50/50 split… One side of the plush is very recognisable and the other side is a very stylised interpretation of the character. Sometimes that highlights alter egos or one side is ‘battle damaged’. They look great and we’re expanding that range with new IPs.

They do look great. Looping back to Stranger Things, you got in on that brand very early on. Is that part of the plan moving forward? To try and get on board with IP before they take off?
FN: Yes. It’s a risk, but when it pays off, it’s fantastic. With Stranger Things, we’ve sold way more than any of us predicted. In the early days, many of our distribution partners were somewhat shy in terms of their order quantities. That said, we ended up having to air-ship product all over the world because demand was higher than what anybody foresaw.

What gave you the confidence to bet on Stranger Things?
FN: There was really no solid stats to go off; it was largely intuition. We spoke to people, read Reddit and other online forums, and we really wanted to bet on our then nascent partnership with Netflix Consumer Products.

GB: Our creative team have their finger on the pulse of trends, and everyone loved that show from the get-go, so there was a hook internally. And when you look at the series, there are so many cool things you could do with it so we had to go for it.

Before I let you go, one last question – what fuels your creativity? Aside from Peruvian coffee!
GB: You have to be a sponge. Ideas can come from anywhere, so hobbies and passion projects are really important. Going to trade shows that have nothing to do with toys… Look around at things on your way to work. Look at product design and graphic design in the broader sense. Look at examples you like and understand what works and what doesn’t and, most importantly, how it can be applied. Anything could potentially help a product or packaging, so be a sponge; it’s vital!

FN: We make a point of involving the commercial team in the creative decision-making process. Brainstorms include the commercial team. I’m not as creative as Gurdeep and his team, but my role is to always question the commercial feasibility of ideas. That balance helps us to land products that are very commercially viable.

Guys, this has been great. A huge thanks again.

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The post YuMe Toys’ Felipe Noriega and Gurdeep Bains on encapsulating 100 years of Disney magic in collectibles appeared first on Brands Untapped.