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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The National Football Museum succeeds in bringing out the colour and character of football very well. I am sure a number of their assets would translate well to licensing – there may be issues around rights to resolve but some of the memorabilia they have on show and in their collection would go well in areas like apparel and accessories. They also show some unexpected assets which show the reach and influence of football – I remember seeing Wallace & Gromit’s Soccamatic machine there for example!

Gemma Lloyd, Content Manager for Spring Fair’s Licensing Lab
Right now, a museum which I think feels quietly ripe for licensing is The Fitzwilliam Museum in Cambridge. The Fitzwilliam holds a substantial permanent collection – from paintings, manuscripts, rare books, ceramics and antiquities. Crucially, it operates under the globally recognised halo of the University of Cambridge, so this combination of archive depth and academic prestige creates particularly strong foundations for licensing.

While some institutions lean into bold, commercial collaborations, the Fitzwilliam’s strength lies in its academic authority, heritage and distinctly English setting. Under the Cambridge name, it carries a level of intellectual prestige – one that lends itself to a quieter, more considered approach to licensing. Think interiors influenced by historic design, beautifully produced stationery or limited-edition publications: products that feel crafted, scholarly and enduring.

Simon Foulkes, MD, Rainbow Productions
The interactivity of the Museum of the Future in Dubai offers a complete sensory overload, utilising all the skills of the visitor attractions industry. Highlighting themes of innovation and sustainability, the museum visualises and predicts the world in 2071. An unknown future shaped by the beauty, trauma and influences of the past. The potential to license this incredible museum globally – which is not only architecturally stunning but conceptually unique – is absolutely untapped.

It is one of the most visited attractions in Dubai and one of the most iconic structures in the world: there’s the audience and there’s the USP! Its licensing programme could be shaped by beauty, imagination and practicality and will always be contemporary, relevant and ubiquitous. A delicious opportunity for both consumers and a licensing imagineer.

Byron Williamson, License & Marketing Manager, Spike Leisure
The Castlefield Gallery in Manchester. It’s dedicated to pushing forward contemporary art and artists and is always very inspiring to visit. This has to be an untapped opportunity as various licences could be sold from here, from classic British comedy to the likes of Wallace & Gromit.

And which museums would our contributors highlight as must-attends…

Ian Downes, Director, Start Licensing
I have to declare an interest and say that The Ashmolean Museum is one of my clients – but I would thoroughly recommend a visit to the Ashmolean. It is one of Oxford’s crown jewels and its collection is like a Greatest Hits album. There are interesting, engaging and fascinating items throughout the collection. The Ashmolean are good at telling stories and they present their collection in an engaging way. The Museum, which was opened in 1683, has been inspiring minds since then. It’s a great place to visit – not least as it is easy to navigate around. You can dwell in a gallery and not feel under pressure to move on or you can take a quick tour very easily. From a licensing perspective, we use the Museum as a living style guide and have found that licensees respond very well to seeing the collection in situ. I know designers from licensing companies find it a very effective place to research new ideas.

Gemma Lloyd, Content Manager for Spring Fair’s Licensing Lab
London is home to several of the world’s most Instagrammed museums, with the V&A and National Gallery both ranking in the top 10. Described by Lonely Planet as one of the world’s greatest galleries, the National Gallery is a must-attend for anyone visiting London.

From Van Gogh’s Sunflowers to Monet’s landscapes, these are not just recognisable names – they are artists who shaped many of our earliest experiences of art. The National Gallery is home to masterpieces that exist only within its collection, and seeing the originals in person is something truly special. This breadth of the National Gallery’s iconic artwork makes it powerful not just as a visitor experience, but as a licensing force. Its collections are visually rich and widely known, translating naturally into product. The National Gallery ranges are now stocked at retailers such as Marks & Spencer.

Museums and galleries are no longer just cultural spaces – they’ve become powerful, recognisable brands. As demand for licensed product continues to rise, institutions are increasingly looking at how far their collections and influence can reach. The Amsterdam Van Gogh Museum’s unexpected partnership with Pokémon is a clear example of how far museum-led licensing has come. By presenting classical art in new ways, museums are engaging new audiences and demonstrating the enduring strength of heritage IP.

At Spring Fair’s Licensing Lab earlier this month, the V&A hosted a session on its licensing programme and drew a packed audience. This signalled just how strong retailer appetite for museum-led IP is, and they weren’t the only one. In a separate session, Aardman discussed its licensing strategy and, with its own exhibition currently on at the Young V&A, reinforced the ongoing strength of heritage-driven brands.

With over 38,000 attendees at Spring Fair and more than 300 exhibitors showcasing licensed products, the appetite for licensing is clear – and it’s why we launched the Licensing Lab. The momentum continues as we return next year with a space designed to connect exhibitors with buyers seeking their next best seller, and a focused content programme set to support both new and established licensees. We look forward to welcoming the industry back!

Simon Foulkes, MD, Rainbow Productions
I guess that there is a connection between the weather and visiting galleries, museums, castles and stately homes… So this year, believe me, the Foulkes family have recorded a record number of such visits so, on this subject, I can speak with some relevance and have a ready-made focus group to assist me. Trying to imagine the significance of the pile of rubble in a field before Henry VIII and his second wife changed its fortunes forever is a challenge – what we strive for is some sort of connection.

Connection is absolute key to heritage-trekking and museums and galleries have made massive strides over the years to not just cater to the intelligentsia. And here I assign the hordes of school children with their pound coins feverishly bypassing all the “boring” exhibits just to buy an eraser in the gift shop, through to PHD students looking at an object through revolutionary and era-redefining eyes.

The welcoming, warmth and wonders of a recent visit to The Ashmolean Museum in Oxford truly stand out. From the moment we entered the lobby it was clear why this museum had achieved what so many heritage attractions strive for. The Ashmolean is the oldest public museum in the UK so they have had longer than others to get it right – but boy have they succeeded.

The exhibits are as fascinating as other museums and galleries, with no standout Mona Lisa moments, but what they’ve got they maximise. They coordinate the displays perfectly and take the heritage-trekker on a journey highlighting key exhibits and focusing on millennia-old objects which are relatable and relevant to the world we live in. This coordination of the journey and highlighting of certain exhibits is absolute key to The Ashmolean’s ability to grow and drive licensing programmes. The quest and vision to develop a licensing programme is driven by connection.

There is no way in one visit anyone can take in all the exhibits, but the episodic structure of the Gift Shop mirrors the journey through the museum and gallery. Those artifacts, pictures, stories previously experienced are laid out so precisely that The Ashmolean effect can continue – but this time the visitor can “own” some of that emotional connection.

The strategy employed to maximise the relevancy of the consumer products to the museum itself is exemplary and is an absolute blueprint for others in this section. This isn’t a licensing programme built on erasers and pencils but a beautifully tailored programme which has visitors to the museum at the heart of it.

Byron Williamson, License & Marketing Manager, Spike Leisure
The museum I would nominate as a must attend is the Victoria and Albert Museum in London. I have been to many of its previous Exhibitions and just love what they do – expect the unexpected! The storytelling of each exhibition is well thought out and full of fantastic insights. The Museum is easy to navigate around, and you can take your time soaking in the atmosphere. This museum’s shop is a perfect example of how to sell licenced products across many different formats from apparel to merchandise. One of my favourites has to be the David Bowie collection, which shows what can be done with music in museums.

The post Talking Brands: What untapped museum or gallery could be heritage licensing’s next success story? appeared first on Brands Untapped.

Then, on the flavour side, Nando’s has untapped potential to scale its PERi-PERi IP into new grocery categories. Consumers already love the taste, and expanding into snacks, frozen meals, and cooking kits would turn Nando’s into a multi-category powerhouse, reinforcing loyalty and convenience.

Both brands tick the boxes for 2026 – strong brand equity, consumer trust and an alignment with major trends like health and wellness, convenience and flavour-led innovation.

Ian Downes,
Director, Start Licensing

When my sons were younger, they played RuneScape, a massively multiplayer online game – or MMO – set in a fantasy world full of quests and adventures. This was back in the 2000s as the game launched in 2001. I was always struck by how immersed my sons were in the world of RuneScape and how much enjoyment they got from the game. These are, of course, positive attributes when thinking about extending a brand through licensing. With my interest piqued in RuneScape, I remember approaching the games owners Jagex about the potential for licensing Runescape. This conversation didn’t go too far. I’m not sure if Jagex ever licensed RuneScape in the 2000s, but it is a brand that always stayed with me. Of course, other competitive brands have emerged and kicked on – World of Warcraft for example.

However, I was reading a few BBC Business articles online recently and a story about RuneScape popped up. In summary, it seems RuneScape is having something of a renaissance largely due to players who were fans in the 2000s returning to the game. The BBC report highlighted that there are now two versions of the game including a more contemporary version – but it seems “old school” RuneScape is the most popular format for the game.

Given its history and fan engagement, RuneScape may be a brand ripe for licensing in 2026. The task of bringing RuneScape alive in licensing may be a little easier now as there is a well-established network of licensees and retailers that “get gaming” and a lot of the core fans are now in their late 20s and early 30s with more disposable income. Of course, there is also more opportunities around e-commerce, conventions and limited edition products – all of which play well with a brand like RuneScape.

So I assume RuneScape is largely untapped but please accept my apologies if there is already a flourishing licensing programme out there!

Sharon Ann Weisman,
CEO, Portman Street

Duolingo feels like the ‘Sleeping Giant’ for licensing in 2026. You know by now, I love data – and the numbers tell a story: 500M+ registered users, massive daily engagement, and it’s built a genuine cultural footprint with Gen Z and Gen Alpha. From a visual vocabulary standpoint, the Duo owl isn’t just a mascot… It’s become an actual meme entity with personality and cultural cache that rivals entertainment IP.

What makes it untapped: Despite this reach, Duolingo’s licensing footprint is minimal compared to its cultural presence. No major toy partnerships, limited apparel beyond their own DTC, no serious retail activation… They’ve essentially created a character-driven universe with built-in storylines – the unhinged owl personality, the lesson streak anxiety, the passive-aggressive notifications – that’s ripe for product translation.

They finally hired their first licensing role, so hopefully they launch a compelling licensing program that bridges over cultures, languages and generations. The real opportunity sits in that rare space where kids want it, parents approve of it and it has legitimate cross-generational recognition. Plus, the learning/education angle gives it legs beyond trend cycles – utility with personality!

My second pick… Well, if there’s one brand sitting on enormous, largely untapped licensing potential, it’s Wikipedia. It’s one of the most recognised and trusted brands on the planet, yet it has almost no consumer licensing footprint. In an era flooded with AI-generated content, misinformation and brand noise, Wikipedia represents something increasingly rare: credible, human-curated knowledge. That trust equity alone makes it a compelling candidate for thoughtful expansion.

Moreover, everyone is freaking about the M&As, when we really shouldn’t be gambling like maniacs on “What’s the new hot thing???” (knowing very well that it might not last). The opportunity for Wiki isn’t novelty merch, it’s mission-aligned products. Done right, Wikipedia could become a case study for how a values-first, nonprofit brand expands into licensing – without losing its soul. And in 2026, that may be the most modern move of all.

Finally, A24. It is already acting like a lifestyle/luxury brand, but from a pure licensing lens it is still massively under-monetised relative to its cultural pull, making it a high-impact play for 2026 if handled carefully. Honestly, I am not a “fan girl” of anything, but lets just say that watching one of their movies – Marcel the Shell with Shoes On – and curiously looking up their merch story, lead me to buying the first figurine I’ve ever purchased (at age 43!!!).

A24 can potentially remind the industry to slow down – and that quality trumps quantity. It built a cult ‘world’ via films and design-driven merch, with its own DTC shop, special-edition Blu-rays, books, and vinyl that routinely sell out and trade at premiums on resale platforms.​ The Barnes & Noble in-store “A24 Shop” rollout is its first real physical retail expression, proving there is national demand for a curated A24-branded universe, not just one-off movie swag.​

Over-licensing or mass-channel placement would erode the “insider” equity that makes A24 desirable… The play is fewer, deeper partnerships, not volume programs. They finally hired someone who seems fun and sharp, and the rumours say she champions the potential of brand licensing, so fingers crossed that they create more thoughtful merchandise without compromising quality… Setting a new standard for everyone in 2026.

James Oddy,
Co-Founder, Vize

Honestly, The X-Files feels like it’s quietly having a moment again – and it doesn’t feel nostalgic, it feels current. It pretty much called the world we’re in now: conspiracy, mistrust, blurred truth, belief vs science… There’s so much scary stuff going on in the world. Throw in post-truth fatigue, AI anxiety and government distrust… That whole “I want to believe” mindset suddenly makes sense again; it just hits differently in 2026.The storytelling and brand DNA is unique and relevant.

You can see its influence in shows like Stranger Things – the slow-burn mystery, secrecy and underlying dread – but The X-Files did it with adults in mind. It built this rich mythology, while still telling smaller human stories. That kind of depth feels rare now. Fans are hungry for it. Most pop-culture licensing is all about the charcaters, branding and worlds. The X-Files is the opposite – stark typography, government paperwork, dark forests, roadside motels, UFO minimalism, analogue tech, all of which are on trend and a bit different.

That makes it perfect for fashion, home, print and stationery – products should feel a bit classified, like a classified notebook.  I’d love to see a high-end coffee table book for the OG fans. Gen Z’s already there through memes, TikTok’s eerie, liminal vibes and rewatch culture. A lot of them weren’t even around when it first aired, which weirdly makes this IP feel fresh again.

Oliver Dyer,
Founder, Skew

Let’s talk about hotels – luxury hotels. The ink will already be dry on impactful deals for ’26, so I want to pull back and look at what’s next. The Heritage wave has been massive. The Met’s Josh Romm rightly highlighted a stat from Licensing Source’s dedicated Heritage & Museum Licensing issue saying: “The nonprofit IP sector, led by museum properties, was the fastest growing licensing property type last year, growing at a 16.8% rate”.

Heritage has been building in waves for over a decade, and the next one that’s going to break is luxury. Skew client The Ritz Paris is the trailblazer here and you can see why. Heritage is about story and provenance, and The Ritz Paris has more of both than sequins on a Couture showpiece.

Luxury brands don’t stoop so low as to admit to competition, but last year luxury powerhouse LVMH secured an option to acquire full ownership of The Orient Express brand by 2027. And there’s more to follow. Like it or not, the super-rich are getting richer. There are storied hotel brands ready to cater to their every whim and sell the lifestyle back to the upper mid-market.

Raffles is a rich pick for luxury brand extension. But for the mix of East and West, old and new, we’re wondering if it’s The Peninsula that could break through into luxury lifestyle.

Why? Licensing loves an anniversary – the Peninsula turns 100 in 2028. It has global reach, grounded in an origin story filled with evocative imagery to inspire a decade’s worth of creative development. Not only that, but the brand is pushing its relevance with a well-received opening in London in 2024.

Pedigree, story, reach, relevance and deep pockets… The Peninsula has all the ingredients to make the leap from luxury experience to lifestyle.

Ben Townsend,
Product Development Executive, Aardman

As soon as I saw this question, there was one clear answer that came to my mind: The Muppets. As a lifelong fan of Jim Henson and puppetry, this brand has been catching headlines recently for lots of exciting reasons.

First off, The Muppet Show is coming back to our screens this February via Disney Plus after last being on in 1981! With names like Seth Rogen and Sabrina Carpenter leading the charge, they will bring in a whole new audience to the brand, and with it a whole new audience who will get an appetite for Muppets-related merchandise. Moreover, influential names like Jennifer Lawrence and Emma Stone will be working on a Miss Piggy Movie, bringing lots of exciting licensing opportunities.

As that wasn’t enough, Disney World in Florida will be closing Aerosmith’s Rock & Roller Coaster after 27 years this year and what will they be rebranding it to? You guessed it, our felted friends, The Muppets. That shows a lot of faith on Disney’s part, and as someone who recently visited Disney World for their honeymoon, at the end of every ride is a large shop with a great deal of licensed products available to purchase. I for one can’t wait to see what products will be available, and to see The Muppets with a modern twist.

And with that, brings my final reason. The recent licensing collaborations that have come from the Muppets have been sensational. Just this year, American apparel brand RSVLTS released a Muppets apparel range with some fun and creative AOP designs for Men, Women and Kids. As someone who is part of RSVLTS’s Facebook fan group, I have not seen such a positive reaction and excitement from fans as I did with the Muppets launch. TruffleShuffle also launched a great Muppet Christmas Carol design for the festive season, which sits beautifully across all their existing Muppets range, including a light-up Loungefly bag.

Fi Murray,
Director of Ideas, Making Things Studios

My pick is Lick. More than a decorating paint company, they are leaders in colour. They could be to paint, what Crayola is to crayons. They have an enormous engaged social community and feel primed, excuse the pun, to celebrate colour in new ways.

I could see their colours – Pink 08 and Red 03 being personal favourites! – translating to lifestyle, homeware and more… Think candles where the scent matches the colour mood. You could make up sets with quick guides to colour compliment your clothing.

Simon Foulkes,
MD, Rainbow Productions

I can’t be the only person who was willing Macclesfield FC to hang on for their third round FA Cup victory against Crystal Palace. Not because I’m a Macclesfield fan – it’s somewhere near Manchester isn’t it!? – but it was one of those “never to be forgotten” sporting moments when bloke with a blood stained headband got carried aloft by beyond jubilant fans. “I was there” moments are so personal and have an intense emotional resonance. And let’s face it emotions are what drive our love of sport.

Sports licensing on the whole is pretty well covered and it’s growth is easily measured by the fact that at BLE each year we see clubs, tournaments and associations taking up more and more space on the showfloor. The throng of people jostling at Target Darts booth at Toy Fair to get a piece of Luke Littler shows how relevant the category is and how it transcends age, gender and race. Target Darts’ multi-million pound investment in the incredible Luke the Nuke is down to how this 18-year-old has not only reshaped how people engage with darts but how the guy has captured new audiences. Lukey boy even had my Polish wife rescheduling our dinner so as not to miss a 7.30 bull-off – yes this really is a term! – in the lead up to Christmas so we could recreate the Ally Pally atmosphere in our living room.

2026 is once again the year of the FIFA World Cup so the classic Summer of Sport moniker is repeatedly going to be across all forms of media. This got me thinking about an untapped sporting licensing brand that could maximise opportunities and monetise that emotional demand: Sporting Signature Moments.

At Rainbow we create sports mascots and the utter joy on a childs’ face when hugged by Pottermus at the BET 365 is matched against mascot-related merchandise sales in the Stoke City club shop. Can a sports licensing programme transcend a particular allegiance to a specific club? There are not too many Spurs fans wanting a mantle-piece photo of an embrace with Gunnersaurus… But of course they can.

Bring on an umbrella brand that captures the “I was there” signature movements that revolutionised a sport – or what the (Dad of a) Gen Z-eders would call the Insta moment. Tapping into those etched-in the-memory images and keeping those treasured moments alive epitomises emotional branding. So is there not a screaming desire for these sporting moments to have a collective licensing trademark?

That ball of the century that dismissed Gatting; the chap who floats like a butterfly and stings…; that goliath New Zealander running amok through the English back line; the beam dismounts from that diminutive American genius; that ice skating couple in Sarajevo; that Australian fast bowler being comported by Freddie at Edgbaston…. Panneker, Fosbury, Banks, Pele, MS Dhoni, Cruyff… This is classic game of “what’s YOUR moment” as the list in inexhaustible and now I’ve added that Macclesfield bloke to mine.

Add in some sensational sporting phraseology to complete the branding: “He kicks for World Cup glory”… “They think its all over”… “You can’t win anything with kids”… “You miss 100% of the shots you don’t take”… “The more I practice the luckier I get”… I’m doodling the style guide and already have some ideas for the mascot that taps into our enduring love of sport and Sporting Signature Moments.

My final thought would be that if you could license the image, could you also exclusively license the movement? If so and Stoke City exclusively licensed the Cruyff Turn, would we back in the Premier League or would we be playing Wolves next season?

Robyn Cowling,
Head of Licensing, Aykroyds

Gosh, there are an immeasurable number of untapped brands out there! With the unending appetite for newness at retail – certainly from our core customers – brands are missing out on some big wins by not harnessing licensing as a strand of their marketing for launch.

I suspect they are intentionally and strategically focusing on their core business and own core brand awareness before considering expansion into other categories. I would counter that with the perpetual need for freshness. It feels shortsighted, albeit understandable given the level of investment needed to launch brands.

I personally believe that if emerging brands took a different position on this growth strategy, then we could strengthen their footprint off the starting blocks to give them the widest market share in multiple categories. It just takes one forward thinker to be in the right place at the right time, within the emerging brand team, to take a leap of faith. Fortune favours the bold!

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Steve Manser

The UK high street doesn’t need more things to sell. It needs more reasons to smile.

Licensing can help by encouraging people to feel proud of where they live again. When people recognise themselves, their town or their heritage in a product or event, they feel a real sense of belonging and familiarity. If licensed products and campaigns are included in this context, we could expect higher levels of interest and sales as a result.

The high street’s strength has always been its sense of locality. We’re talking about familiar shopfronts, regular customers, shared memories and genuine human contact. Licensing can build on this by giving national brands regional relevance.

One idea could be to create local edition ranges, similar to regionalised advertising and print campaigns that I know are successful. Stockists can offer small run versions of licensed products or characters adapted to reflect an area’s pride, local sayings or distinctive landmarks. Community collaboration is another practical step. It only needs joined-up thinking and good timing. Licensed events or ranges could be timed to launch in synch with already planned town festivals, museum exhibitions, anniversaries, or local causes.

Imagine a Bluey play trail in local parks and high streets, with family-run cafes hosting coffee mornings with branded giveaway items – or even shop window stickers to show participation – tied into a collaborative launch. Perhaps Wallace and Gromit characters could tie in with regional ‘Fix-It Fairs’ that celebrates repair culture and local craftspeople – especially when a new range is also launched at the same time. That would create awareness and positivity in equal measure.

An FMCG brand and licensed property could team up to create a variant SKU with packaging and ads that features localised phrases or incorporates a recognisable landmark or event to resonate locally.
These types of small, real-world ideas could be exactly what the UK high street needs. They feel alive, relevant, engaging and, importantly, memorable and worth showing up for. All brands – licensed or otherwise – would surely love to have these positive associations as a springboard for their larger, and more conventional promotional activity and sales.

If the licensing community considered how to celebrate and align with the places where people live, the high street could regain both footfall and affection.

Helen Lynch,
Retail Consultant & Executive Coach

If there’s one thing I believe the brand licensing industry could do to give the UK high street a real boost right now, it would be to lead the growth of wellness and self-care experiences through innovative, experience-led licensing partnerships.

From everything I’ve seen and read across the sector, it seems that the high street’s recovery is strongest in city and destination locations where shopping is combined with experience, connection and a sense of wellbeing. Reports from the British Retail Consortium and Funding Circle both point to high streets that have a strong mix of service, hospitality and lifestyle-led offers – including health, beauty and wellness – as recovering fastest, while traditional retail-only towns continue to struggle with vacancy and footfall decline.

While health, beauty and wellness aren’t the only drivers of recovery, they are becoming a powerful part of it because they deliver something deeper than a transaction. They bring people back regularly, create emotional engagement and tap into the growing desire for self-care, social connection and purpose-led experiences.

“Licensing can give national brands regional relevance.”

Consumers are no longer just shopping for products – they’re seeking out ways to feel better, live better and belong.
That’s where brand licensing has such exciting potential. By connecting trusted, wellbeing-focused brands with retailers and local high streets, we can create destination experiences that genuinely uplift.

Examples could be pop-up wellbeing studios or lifestyle corners within stores that blend retail with relaxation… Branded coffee collaborations that promote mindful moments, beauty and nail bars that champion sustainable, refillable products… Or local charity and community partnerships that combine purpose with experience, such as preloved fashion events, repair cafés or co-hosted wellbeing workshops.

For me, this is where licensing can truly evolve, bringing brands to life through experiences that blend commerce with care. Done well, it can boost footfall, loyalty and local vitality while driving meaningful growth for both brands and retailers, helping the UK high street thrive again.

Corinne Duckworth,
Commerical Executive, Dreamtex

As we’re nearing the busiest time of year for the high street, I think there’s a huge opportunity to entertain shoppers while promoting consumer products. For example, in-store visits from characters are just one of the ways retailers can boost footfall with the perfect ‘photo op.’ This brings products to life and encourages purchasing.

Retailers can also entertain shoppers with special store launches. From my retail experience, we used to have a database of customers that we would invite for small launch nights as a thank you for being a valued customer. There would be limited stock and exclusive access just for them, which made them feel special and encouraged spending.

“The focus needs to be on empowering independent retailers through exclusive, purpose-driven licensed collections.”

Another simpler way is to create interesting point of sales in stores. One way we do this for our customers is by creating free standing units to display our product on aisle ends, making our product more ‘grabbable’ for the shopper. It helps the goods stand out next to a shelf and, more often than not, they harness pester power from our direct consumer – the kids!

At this time of year, there are so many interesting merchandising opportunities. Fortum & Mason is one of the best at this. They turn their store into a tourist attraction every Christmas which not only brings in new customers, but pushes their brand via earned media from passers-by who take a quick picture and share to their socials. Perhaps there’s a licensing collaboration opportunity here? That would be amazing!

Gemma Sault,
MD, The Giftware Association

Licensing has the power to transform the high street through thoughtful, exclusive partnerships that put independent retailers at the heart of the story. Focus needs to be on empowering independent gift and lifestyle retailers through exclusive, purpose-driven licensed collections.

The big opportunity lies in creating products that celebrate British heritage, local culture and sustainability values that resonate deeply with today’s consumers. With opportunities to create limited edition ranges, which in turn will drive footfall, but give retailers a unique story to sell.

“Consumers are no longer just shopping for products – they’re seeking out ways to feel better, live better and belong.”

Ideally looking at lower minimum order quantities, flexible terms and a willingness to co-create with smaller businesses – it will take some tactical sourcing to manage profitability to meet these demands. Independent retailers are agile, creative and deeply connected to their communities. By giving them access to compelling licensed products – whether it’s stationery, homeware or lifestyle gifts – the industry can help them stand out in a crowded market.

We also need to spotlight these initiatives at trade shows where licensors and retailers can meet, collaborate and launch new ideas. Licensing shouldn’t be reserved for the big players – it should be a tool for revitalising the high street, celebrating local identity and supporting the businesses that make our towns and cities vibrant.

Rosie Taylor & Chantal Lavender,
Co-Founders, March Collective

The licensing industry has a real opportunity to give the UK high street a lift by leaning into experiential retail and destination shopping. With people watching their spending and less able to travel to big attractions, it’s the perfect time to bring the joy directly to them.

Creating in-store moments that feel immersive and character-led can spark the excitement and connection shoppers are craving, while also reminding people why they love these brands in the first place. When it’s paired with great, engaging products, it becomes an experience that feels personal and memorable.

We’re already seeing this done really well at both premium and high street levels. Jellycat’s Selfridges Fish ‘n’ Chip Shop pop-up created such a buzz and extra love for the brand, while Primark continues to lead the way with retail activations such as Stranger Things Oxford Street and their themed cafés. It’s these kinds of creative, joyful ideas that make shopping feel special again.

Licensed characters and properties have always been rooted in nostalgia and joy, and that sense of fun and familiarity is what our high streets need most!

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We’ve seen some interesting collabs this year in the sports nutrition space, like Deadpool x Myprotein and Optimum Nutrition’s relationship with Lauren James of Chelsea and England fame. It’s clear this will continue to evolve and grow with increased participation in sport and more education about nutrition and its long-term benefits.

From a mental health point of view, Calm has been groundbreaking in their approach to partnerships thanks to the positive influence of its founder Michael Acton-Smith and the recent on-boarding of industry legend Joe Lawson. One of my favourite activations was the partnership with Mars on their pet food brands, reinforcing the connection between good mental health and pet ownership.

In terms of the future, and as I gaze into my crystal ball, I’m getting a sense that wellness will also extend into a more spiritual place. There’s an increasing interest – especially in the younger generations – in crystal healing, sound baths, tarot and manifesting one’s destiny… It’s only a matter of time before this becomes more of a mainstream trend and you heard it first from Psychic Paul!

Ian Downes, Director, Start Licensing
I think there’s a growing movement towards authenticity in licensing generally and design. There’s greater recognition that products and design that are closely aligned to the featured IP will perform better. This manifests in a range of ways, including use of specific design assets and images, right through to companies researching brands more forensically to identify details that make a finished product more authentic. This all plays into a recognition that licensed products can help tell brand stories and enhance the fan experience.

And looking at Q4, I would highlight the food and drink category. There are seemingly more interesting licensing-led collaborations in the sector and Christmas is always important for the composite gift category, where brands like Costa Coffee feature. There’s also a boost for classic products like chocolate advent calendars – this year M&S launched a Wallace & Gromit Advent Calendar for example.

Beyond this, we’re increasingly seeing engaging FMCG products forged from a licensing starting point. A good example of this is the recent partnership between drinks brand Bailey’s and Terry’s Chocolate Orange – the resulting product seems to be a most apt one for seasonal celebrations. One of the explanations for the increase in licensing ‘collabs’ in FMCG is that they deliver quicker NPD and innovation, plus provide lots of ammunition for engaging social media content.

Tim Collins, MD, The Brand Director
This year, I loved the LEGO Botanicals range. It’s a complete contrast to their more typical product themes and something that taps into a largely adult female customer group that would probably not buy into their usual fare.

Trend-wise, I also see the onward growth of motorsports licensing, especially in F1. McLaren have done a great job with their collaborations with the likes of Puma, Reiss and Levi’s, and Williams have done well with fashion and LEGO products. This shows the sport leaning into fashion, rather than the more typical teamwear products.

Looking ahead to Q4, I’d spotlight seasonal and fun products. Life is challenging for most of us and we all need cheering up at an accessible price point. Primark seem to be really good at this. Halloween also still appears to be massive and I think licensors need to be more creative with designs that maximise those social media moments.

Ben Townsend, Product Development Executive, Aardman
There are a few trends that come to mind, but the one that really stands out to me is the reimagining of classic brands to reach entirely new audiences.

While in Florida for my honeymoon this year, I was struck by how many vintage – and often quite niche – Disney characters had been revived through bold, distinctive design choices. It felt like a renaissance for these legacy IPs, transforming them from ‘vintage’ into modern pop-culture icons. The styling was so strong that I found myself buying shirts featuring characters I didn’t even recognise, simply because the designs were fun, fresh and visually compelling. This trend speaks to the power of design in reshaping perception and focusing on the emotional engagement. It’s not just about nostalgia anymore – it’s about reinvention and image for a whole new audience.

2025 has also marked a cultural high point for Asian-led consumer products – both in terms of distinctive style and the variety of offerings. Labubu continues to thrive, and I believe plush keyrings will be Q4’s standout seller. The trend has swept the market, with many brands attempting to emulate Labubu’s success, and there’s strong potential for festive season sales to surge.

Building on this momentum, blind boxes are another format gaining lots of traction across multiple retailers in the UK. They tap into the excitement of collectability and mystery, which resonates strongly with today’s consumers.

Lastly, in the context of the cost-of-living crisis, we’re seeing a renewed appetite for nostalgia and comfort. Classic brands are being reinterpreted as pop culture icons, reaching new audiences and offering a sense of familiarity in uncertain times.

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The other benefit of meeting at BLE was that all key decision makers and deal ‘influencers’ on both sides were in attendance and able to contribute to this initial meeting. I think we all know how difficult it is to coordinate meetings these days – particularly IRL. BLE is a ‘compelling event’ for meetings and makes this task easier.

Two years down the track we are onto our fourth Aardman x Skinny Dip Collection. There have been some wonderful products created which have sold well and have been positively received by consumers. Indeed, as a demonstration of things going full circle, Skinny Dip’s products have featured on Aardman’s stand in subsequent years as ‘case study’ examples of design and product development.

What makes BLE an effective place to unearth or facilitate these sparks?
Essentially, it’s a ‘commercial forum’ and companies are there to ‘do business’. BLE helps create a sense of focus, purpose and momentum. Key decision makers are in attendance including brand managers, marketers and design personnel. This helps meetings and opportunities flow. I think some companies plan BLE into their new business schedules and use it as an opportunity to find new licenses. In that regard it is essential to be at the show.

One observation I would make is that different categories of companies probably use BLE in different ways. For long-term experienced licensees, it’s probably more of an opportunity to touch base and correct course. For companies who are less immersed in licensing or new to market, it’s an efficient way of surveying the market. I think we need to be aware of this category of company and keep time in our BLE diaries to engage with these companies in an effective way.

Finally, I think BLE should also be praised for their Retail Mentoring Programme. This has been a very effective stepping stone and entry point into licensing for several cohorts of retail buyers. I think this has had a positive effect on the market as a whole and helped raise the awareness of licensing among the retail buying community.

If you can wave a magic wand, what product or partnership do you hope is kickstarted at BLE this year?
We have started working with author, baker and influencer Jane Dunn and her brand Jane’s Patisserie. Her first book, Jane’s Patisserie, is the fastest selling baking book of all time and all four of her books published to date have been instant No.1 Sunday Times bestsellers. It would be great to either meet a retail partner who would like to develop a relationship with Jane across categories like ingredients, accessories and baking kits – or to talk to some FMCG companies who are in the ingredients space.

I can see Jane’s influence helping to sell specific ingredients. We are open to promotional partnerships and limited edition opportunities. Without being too greedy it would also be great to meet some of the players from the casual dining and café sector – I can see Jane creating and curating a very appealing limited edition treat for this marketplace.

Thanks again Ian. And we should say, you’re at stand A234 if anyone wants to connect. See you there!

If you still haven’t registered for BLE this year, click here to do so!

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James Oddy,

For me, it’s partly personal. I grew up watching Formula 1 on the BBC, and The Chain is imprinted in my memory – it’s the soundtrack to my childhood. It also happens to be the era of some of F1’s greatest rivalries, like Senna vs. Prost, which only adds to the drama and emotional pull.

But beyond nostalgia, Fleetwood Mac offers a massive opportunity when it comes to licensing today. Their music is steeped in real-life storytelling which works hand in hand with licensing. There’s raw emotion and different eras – almost like episodes that shaped their song writing.

Unlike bands like The Rolling Stones or Metallica, Fleetwood Mac has kept their licensing and merch activity fairly understated, which leaves a lot of creative space to play in. Especially if you’re tapping into that modern festival-season energy. Their aesthetic – 70s mysticism, heartbreak, resilience and bohemian glamour – feels more relevant now than ever.

With Stevie Nicks’ unmistakable style leading the vision, I imagine a beautifully curated collection that is underpinned by freedom, imperfection, drama, luxury and a touch of glam. The 70s reimagined!

Sophie Bloomfield,
Creative Director & CEO, SBC
One artist who could truly drive a powerful licensing programme today is Alanis Morissette. With the resurgence of 90s fashion – grunge in particular – her legacy feels more relevant than ever.

Alanis rose to prominence during the era of Marc Jacobs’ iconic grunge collection for Perry Ellis, and her aesthetic ties neatly into the dreamy, introspective visuals of early Sofia Coppola films like The Virgin Suicides. There’s a cultural mood right now that aligns perfectly with the world Alanis helped define.

Beyond the look and feel, her music is rich in themes of female empowerment, world peace and everyday irony, resonating deeply with multiple generations. A perfect example is the lyric from Ironic: “It’s like ten thousand spoons when all you need is a knife.” This line is currently trending online – especially during her European tour – and could anchor an entire product collection… Think apparel, stationery and even homeware built around the song’s lyrics and visuals.

When I evaluate the potential of a property to become a lasting brand, I always look for depth, how many creative avenues can we explore? With Alanis, the possibilities are incredibly broad. Her music, message and style offer fertile ground for building an iconic and enduring licensing programme.

Joana Gonçalves,
Marketing Manager, Skew
As I was researching for my interview for my role at Skew, it was great to learn that they work with Abbey Road and some of their most classic artists. There was the crossover between my new job and my current job as Head of Marketing for a Music Festival. I think there are so many legacy bands that could drive incredible licensing programmes but I’d like to suggest a present one, that headlined my festival a few years ago – the Australian rock band King Gizzard & the Lizard Wizard.

While they live in the sidelines of mainstream music, they’re extremely popular within their niche and have an almost cult-like following. They also have a DIY ethic that would align perfectly with non-traditional, design-forward brand programmes.

In my opinion, King Gizzard represent exactly the kind of IP that thrives in today’s cultural and commercial landscape: prolific, world-building and fiercely adored by a global niche audience. They’ve released over 25 albums spanning psychedelic rock, thrash metal, folk, and synth-pop, each with its own aesthetic, narrative and design language. And most of them on their own label and completely owned by them. Their fans are known for collecting, remixing, and actively co-creating – see Polygondwanaland.

A standout licensing opportunity would be the ‘Gizzverse Tarot’. A 78-card tarot deck featuring the surreal characters, creatures, and themes from their sprawling musical universe – like Han-Tyumi, The Lord of Lightning, or the Rats’ Nest miners. Each card would be illustrated by a different psychedelic artist from their fan community, packaged with a guidebook that doubles as a lore compendium. It would appeal to collectors, vinyl-heads, illustrators, and spiritual seekers, sitting comfortably in design shops, museum stores or indie record retailers.

Declan McCarthy,
Head of Publishing & Licensing, The Ashmolean Musuem
Bands creating brands is no new thing at all. One only has to visualise the ‘tongue and lips’ logo of the Rolling Stones – created 55 years ago – to know that there is life in a successful brand. Equally visual, but perhaps less successful – for the band – is the Ramones’ take on the American presidential seal, which has appeared on apparel for decades… Often worn by people who quite possibly could not tell you a Ramones tune if you asked them! Many others have followed in this wake of pop culture appeal: Led Zeppelin, AC/DC, Blur, Oasis…

Closer to home in Oxford, Supergrass have a terrific logo – loosely inspired from 1960s TV like The Man from Uncle. It’s a great looking device and one that could be better known on more product. It was widely used to great effect in the 1990s/2000s on all manner of product including ironing board covers – not enough bands doing that these days I think.

And, of course, management stablemates Radiohead have a strong visual identity and a wide range of product available for their legions of followers. Just seeing our Retail Team at the Ashmolean Museum preparing for our summer exhibition on Radiohead artwork (This Is What You Get – opens August 6th: https://www.ashmolean.org/exhibition/this-is-what-you-get-stanley-donwood-radiohead-thom-yorke) is a testament to the diverse possibilities.

Up and coming bands? Not brand new, but I think Fontaines D.C. would be a great candidate for opening up a broad range to a growing fanbase. Or The Last Dinner Party cutlery and crockery sets would have appeal? And maybe an ironing cover too…

Josie Starsmore,
Creative Director & Co-Founder, Socktopus
Band socks are on the rise. Literally. Pulled up and paired with a Gazelle and shorts. Shown-off. Loud and proud. Accordingly, our sales of licensed band socks are up year on year. Customers frantically asking for Oasis – who I see have paired with H&M – socks shows that perhaps band merch really is now a top-to-toe trend.

From our experience, I would say that – sadly – licensed socks tend to be a bit of an afterthought. The logo is fairly lovelessly ‘plonked’ on the ankle. More of a box-ticker than a prized possession. Therefore, the opportunity comes from artists being more experimental with their assets. One band who are – in my opinion – the champs of this are King Gizzard and the Lizard Wizard.

Their artwork invites you to discover their music in a way that Grateful Dead championed. Tying in with the current anti-AI trend for hand drawn creative illustration and subculture fandom, these guys – or guy: Jason Galea – hit the mark. I would love to see all over patterned, detailed knit showing off the wealth of band and cover artworks for all bands past and present…

Rob Ames,
Co-Founder, Triclops Studio
Tough one… I reckon the most successful music-driven licenses are not only those bands with gargantuan global appeal, but also some of the best and most iconic logos of all time – The Beatles, KISS, Nirvana, Ozzy Osbourne, RUN DMC, The Rolling Stones, Grateful Dead, Wu-Tang Clan, Sex Pistols, Prince’s Symbol… The list goes on.

Now, with the exception of the Wu-Tang, I don’t listen to any of the above and therefore haven’t bought anything their logo, or similar stature, adorns. I once bought Luc – the other half of Triclops Studio – an authentic, vintage Queen baseball cap when I was in some batsh*t rock and heavy metal record shop in Marseille years ago, but that’s OG gig merch – well, so the scary shopkeeper told me!

The type of music-driven products I like to buy are predominantly t-shirts and limited edition toys and figures from ‘hey-day’ 90s hip-hop artists, or bands involved in electronic dance music. Recent pick-ups include a cap from the excellent Supreme x Aphex Twin capsule collection, a J Dilla ReAction Figure from Super7, and a re-released Chris Cunningham x Bjork t-shirt from the amazing ‘All is Full of Love’ video.

Some of my favourite pieces from the studio shelves include Medicom x Daft Punk ‘Discovery’ action figures, a rare Billie Eilish vinyl figure by Takashi Murakami and several UNKLE toys and artwork by the mighty Futura 2000 – who also created album art for The Clash back in the day.

That said, I used to live near Castle Donington, famous for its ‘Monsters of Rock’ festival which ran from 1980 to 1996. Anyone who was/is someone in the rock and heavy metal fraternity played Donington, and my dad – who was in the police force at the time – used to get me a t-shirt every year he was on duty at the festival. I didn’t know 99% of the acts printed on them – and the tee often came down to my knees – but I always remember being drawn to the awesome band logos and fonts. I don’t think things have changed that much in the rock and heavy metal world today. Bands like Ghost, Deftones, Slayer, Slipknot, Korn – who interestingly just released a collaborative sneaker with Adidas – Lamb of God, and so on, all have huge fan bases, but similarly eye-catching logos and on-stage looks.

So, even though it’s not my musical taste or buying habits, I’m going to pick Indian metal sensations, Bloodywood. A friend of mine mentioned them a while back. He bought Raksha, their playful naan-coloured vinyl album and thought I’d dig it from a design perspective. Bloodywood are a blend of Indian folk with metal and are currently breaking international barriers and collaborating with the scene’s biggest names. Most recently, their song Dana-Dan was used in the pivotal action sequence in Dev Patel’s action thriller masterpiece, Monkey Man. A must-see if you haven’t.

After checking out more of their work, I think they’re one of metal’s most original bands and their genre-defying sound has huge global appeal. Their logo is pretty cool too! I’d love to see more of the band’s playful take on their culture – their self-produced documentary was called ‘Raj Against the Machine’ – imbue clothing and other merch opportunities, but it’s their vision to try fresh things within the metal scene that could spark some awesome products.

For example, they just released an animated music video to accompany their new song, Bekhauf. It’s totally bonkers – Indian meets Japanese metal, as the song features female Japanese metal icons, BABYMETAL. Now, in a Daft Punk ‘Interstella 5555’-inspired way, the animated band members and the fusion of Japanese/Indian folklore creatures would make amazing action figures. The animation could also be the foundation for a great comic book – as well as spin-off animations. A Bloodywood x Netflix animated show wouldn’t look that out of place… Think K-Pop Demon Hunters x Castlevania Nocturne!

Stephanie Griggs,
Creative Director & Founder, Studio Griggs
When it comes to licensing in music, we often look to the bands. But I’m thinking for the Summer festival season, the real brand that people connect with and often return to year after year, is the festival itself. Festivals aren’t just a venue, they’re a community and they breed their own cultural tribes.

Just like a band tee is an identity statement, Glastonbury stages do the same in helping you ‘find your tribe.’ Slogans like ‘Pyramid Pilgrimage’, ‘Shangri-La Survivor’ or ‘Arcadia After Dark’ could create merch opps within the constraints of Glasto as a huge brand itself. Over 200,000 attendees and millions of viewers on iPlayer – that’s a huge opportunity!

Of course, there’s room to celebrate other festivals with strong subcultures, too. Green Man, Boomtown, Lost Village and End of the Road all have their own opportunities, but I think Glastonbury would be my number one licensing expansion hot ticket!

Stage specific merch like patches, tees, campsite flags or even tents and camping gear would work well – and collabs would also be brilliant in this space. Glastonbury x The North Face tents for example! Now I’m craving a lukewarm can of beer…

Ian Downes,
Director, Start Licensing
I auditioned a lot of bands in my head to decide who would get the gig but kept coming back to The Smiths. I think that was inevitable. I was lucky enough to see The Smiths live many times, including in small venues at the start of their career, and actually interviewed Morrissey and Marr. I also got on stage with them once in Ormskirk; A moment I still hold dear.

I think there are many people like me to whom The Smiths means something special – musically and emotionally. I think this could translate well into a well curated licensing programme. The Smiths album and singles covers featured a variety of ‘cover stars’ generally sourced from film, pop culture or TV – and usually featured in black and white. If rights allowed, this could be a ‘design palette’ with potential across multiple product categories.

However, my principle idea for The Smiths would be an exhibition that blends music, film footage, ephemera, lyrics and artwork. I think people of ‘my generation’ would find this a really appealing immersive experience and I’m sure that there would be a great venue in Manchester to host it. Salford Lads Club springs to mind.

This experience might be as close as we would ever get to a Smiths reunion – thinking principally about the sad loss of Andy Rourke as opposed to the Morrissey/Marr friction. The Smiths: A Light That Never Went Out – The Immersive Experience… Coming soon, I hope.

Louise Simmonds,
Licensing Expert
Growing up as a teen through the 90s, there were so many great bands and differing music cultures to explore and experience. Yet I am going to pick the super cool Jay Kay and the band Jamiroquai, with a playlist that includes Space Cowboy, Little L, Emergency on Planet Earth, Virtual Insanity, Cosmic Girl and Too Young to Die to name a few.

Following Jay Kay’s recent appearance with Dua Lipa, his upcoming 2025 live tour and the current interest in the 90s vibe from Gen Z, I feel the moment is perfect for a brand licensing programme with Jamiroquai.

From a branding and marketing standpoint, Jamiroquai has its own signature logo that is instantly recognisable and could be integrated into a variety of product categories. The silhouette could work wonderfully for visual merchandising. I wonder if the silhouette could also dance and move for use across social and digital campaigns?

Although there are multiple product areas that could work, especially in the 90s fashion and accessory aesthetic. A product I feel could be particularly cool for fans is a sounds, lights and visual art immersive experience that pulls on Jay Kay’s dance moves and Jamiroquai’s album graphics, lyrics and music videos. How about a moving illusionary floor for Virtual Insanity, possibly with a game element that has you avoiding obstacles? Or perhaps you are in a futuristic style nightclub for Cosmic Girl, inspired by the lyrics and as a nod to Jay Kay’s dance moves?”

Richard Pink,
MD, Pink Key Licensing
I think that a band who could successfully develop a compelling range of merchandise would be Elbow. The band are renowned for their expansive epic sound and particularly for Guy Garvey’s poetic genius. Certainly not mainstream, but a great opportunity to create a meaningful merchandise range that reflects band’s cult appeal and a deep connection with their fan base.

Apparel would be key to the programme, utilising snippets of Guy Garvey’s lyrics using slogans such as ‘We’ll make the moon our Mirrorball’, ‘Throw those curtains wide’, ‘Build a Rocket Boys’, and utilising the album artwork as the key imagery. T-shirts, on trend vintage jackets and scarves, and even trainers would be likely product candidates.

Limited editions would fit the band’s appeal particularly well, whether it was prints of the artwork or replica set lists with an element of personalisation which would fit with the connection the band have with their fanbase.

Gifting would also be of appeal to the ‘Dad’ demographic, with mugs bearing lyrics, drinking-related items to reflect some the song’s themes about drinking with friends – ‘Another sunrise with my sad captains’ – and this could also extend into a range of branded beers and spirits.

A line of stationery or bookmarks would appeal to the literary side of the fanbase and would reflect the one of the key facets of the band – their lyrics penned by Guy Garvey which are nothing if not poetic.

Eco-friendly merch, such as reusable water bottles or other sustainable merch appealing to the environmentally conscious audience, would also play into an underlying message that they care about the world around them. But not without the humour that accompanies everything they do and obvious to anyone who has seen them perform live.

David Born,
CEO of Born Licensing & Born to License
My pick is Fleetwood Mac, without question! Their cross-generational appeal, iconic sound, and unforgettable aesthetic make them perfect for licensing. We’ve already seen the power of Stevie Nicks as a brand, with the Barbie doll inspired by her selling out almost instantly.

A great product idea: a premium lifestyle collection blending vintage fashion, home décor and vinyl accessories. Think velvet throws, incense holders, embroidered jackets, and beautifully designed record players. All of course capturing that dreamy, boho spirit Fleetwood Mac is known for.

I think it would be a massive hit and would serve the generations that love the band – both those who have been longtime fans and those who have discovered the timeless band more recently.

Anthony Marks,
MD & Founder, Fanattik
Fanattik is all about heritage, supporting brands with multi-generational appeal, so I am gravitating towards Iron Maiden – a British band who, like me, celebrated their 50th anniversary in 2025. When you look at available merch now for bands, it’s mostly clothing, maybe a few souvenirs… The exception when it comes to Iron Maiden is the great product that their licensee Nemesis Now creates, such as the themed tankards and goblets.

A good chunk of the fans of this band are the older demographic and do not want yet another t-shirt or keying, so we would suggest tapping into one particular aspect of the band – the tours. Tours connect with the hardcore fans and even if you were too young to go to a particular tour, you will have heard about it or watched it on TV. In the 1980s you had the Killer World Tour, in the 1990s the No Prayer on the Road Tour and starting this year the Run For Your Lives World Tour, so there is a wealth of material to utilise.

A higher end range of collectible product commemorating these tours, potentially limited to the year of the tour and with packaging that captures the colours and theme of the decade, would be very well received. Both by fans who went to the actual concerts and fans who wished they could go back in time and go to the concert.

Stuart Hunt,
Marketing Director, Major Look
It would have to be a band or musician with a distinctive look and style to work across a programme of different licensed products. If they’re iconic and influential, then that’s obviously a big plus too. Nineties and noughties bands and fashion are enjoying a resurgence. There also seems to be a blended trend of toys, collectibles, and fashion that is gaining in popularity too – as shown with brands like Labubu, which are popular with both teens and adults.

With that in mind, I would say a band like the Spice Girls would be perfect for a fresh new licensing programme today, especially as they are recognised globally and each member has a distinct look and personality. I think a POP MART x Spice Girls collaboration would do really well. A range of collectible Spice Girls-inspired dolls would fly off the shelves – appealing to both music fans and collectors. Collecting all five could prove a bit of a challenge, mind!

John Dyer,
MD, Windle Creative
I think that in order to drive a successful licensing campaign, you have to start with something – or someone – iconic and play with that… As much as there is an abundance of iconic music throughout the ages, when looking at bands – especially ones that stand out with their visual brand identity – there aren’t as many truly untapped iconic ones as you might expect.

So, instead of looking at one band, we looked at a selection and tried to work it into a licensable range using another household brand as a partner… Yes, we’ve some great fun in the studio with this and came up with ‘iconic bands meets Cadbury’ in ‘The Choc ’N’ Roll Selections’.

We looked to utilise Cadbury’s existing, classic brands and playfully integrate iconic band’s names/songs/artwork. From Freddo Mercury to The Stone Roses…

As a final note, I’d like to add that we had some other things which we were considering playing around with which I’ll list for you here in no particular order…

Elton John’s Goodbye Yellow Brick Road Teeth Whitening Set, ZZZ Top Duvet Set, The Beatles – Hello Goodbye T-shirts for Introverts, Desmond Double Decker, Fleetwood Caramac, Picnik Kershaw, Fruit & Slipnut, Bruno Mars Bar/Life on Mars Bar, Emerson Flake & Palmer, Aero-smith, Kit-Kat Stevens, Oreo Speed Wagon, Boostie Boys, Milk Tracy Chapman, Fairy Milk, Bon Bon Jovi, Jimmi HenTwix, Cadbury Queen Egg, Eminem M&M, Pez Zeppelin, Skid Rolo, Tom Petty & The Jawbreakers, Careless Wispa, David Bounty, The QUALITY Streets, Pharell Rocher… And so on and so on – you get the gist!

The post Talking Brands: With festival season upon us, which bands or artists could drive a licensing programme today? 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.

Top of our wish list at the moment are Buffy the Vampire Slayer, FernGully, Sweet Valley High, Sabrina the Teenage Witch and That’s So Raven – all shows our customers have been asking us for, and that have plenty of devoted fans here at TruffleShuffle HQ too.

For these properties to succeed in licensing today, access to the right assets is key. We’ve seen first-hand how much more powerful a product becomes when it taps into authentic, recognisable moments from the original series… Whether that’s early illustrated artwork, photographic cast imagery, lyrics from the soundtrack or even memorable quotes and episode-specific references. That kind of detail instantly connects with fans and sparks the emotional response that drives a purchase.

As more retro IPs get snapped up by big studios, there’s often a shift towards cleaner, remastered graphics or generic character silhouettes – which can make licensing more straightforward, but sometimes at the expense of the nostalgia that makes these brands special. If licensors are able to retain and offer access to a richer library of original assets, it allows licensees to create product that really feels like the show or movie fans remember – and that’s where the magic happens.

Ultimately, the best-performing ranges we’ve worked on are the ones that go beyond surface-level recognition and tap into the deeper emotional connection people have with these stories. If a relaunch can honour that, while staying flexible to modern tastes and formats, there’s no reason these IPs couldn’t be just as relevant – and successful – today.

Luc Hudson, Co-Founder, Triclops Studio
It’s a tricky question – partly because the vast majority of IPs from my childhood have either been relaunched already or never really went away. We are big fans of more obscure toy lines from the past here at Triclops, but that preference would make our picks very niche and therefore only likely to appeal to the select few other toy nerds who were aware of the brand the first time around…

If it was up to nine-year-old me to make the decision, I would plum for the M.U.S.C.L.E. line of wrestlers – the two-inch-high pink marvels which were my favourite toys as a kid. Based on the successful and long-running Japanese manga Kinnikuman, Mattel rebadged the line and released the figures in either garbage can tubs of 10, or blister packs of four randomly assorted figures. The appeal to me was the weird and wonderful variety of cool characters. The fact there was no real backstory conveyed on pack meant that I could just pit the characters against each other in a free-for-all, no-rules battle for supremacy.

However, this falls into the category of IPs that never really went away if we include Asia in the discussion, so adult me would suggest Extreme Dinosaurs from 1997. I missed out on the cartoon show and the brand slipped past me first time around, but the IP has all of the right ingredients to appeal to kids and kidults alike if it were brought back today. The slightly hokey plot of the 52-episode animated show concerned a meddling villain who caused the extinction of the dinosaurs first time around, and teams of good ‘Extreme Dinosaurs’ versus bad ‘Raptors’ who had lain dormant for millions of years to be awoken in the modern world. Most stories focus on the bad guys creating environmental disasters and the good guys foiling them.

The most appealing aspect to me is the OTT character designs – the dinos are all jacked up to beefy scale off the back of the success of other musclebound-mutant toy lines of the time like Street Sharks and Cowboys of Moo Mesa, both of which have been on the relaunch roster recently. The guaranteed appeal of gnarly dinosaurs means that marketing could be fairly minimal in order to drive sales. The notion that dinosaurs could teach kids basic principles about environmental issues and being more green kind of makes sense – even if this aspect of the show is secondary to the fact that the dinosaurs have blasters, cannons and cool cyborg bits!

We often – rather heatedly! – discuss the deluge of relaunches in the studio and one of our beefs is the fact that most fans of an original IP have the original toys already. We question whether this primary target audience would want or need to buy relaunched product, especially if it does not have additional perceived value when compared to the first wave. On the flip side, would fans of an original toy line want a ‘modernised’ or reimagined version of something that in its original form tugs so hard on their nostalgia strings? That’s why something like Extreme Dinosaurs should be a safer bet. Even without heavy promo, the theme is a perennial favourite with kids and the fight features on the hero characters would inject some much-needed play value to the action figure aisle.

Debs Southwood, Design Director & Co-Founder, Wigwam Studios
It’s fantastic to see so many retro brands making an appearance in licensing and I’m proud to have been involved in bringing some of my personal childhood favs back to life. But if there’s one brand I would absolutely love to see relaunched, it’s SuperTed! I mean, what’s not to love about a teddy bear with super powers?!

The messaging and premise of the original story is more relevant today than ever – an ordinary bear, cast aside for not being “perfect” is taken under the wing of a visiting alien who sees his true worth and brings out his superpowers! We can all relate I’m sure! This message alone will give this brand wings – or a cape – to succeed in the licensing world. Not only will it tickle the nostalgic buds of us 80s kids, but it can also inspire a new generation of fans to believe in their own true worth and embrace those who lift them up to let their superpowers shine.

I heard a rumour a while back that SuperTed may be getting relaunched, but I’ve not seen anything come to fruition yet… I’m really hoping it does though, and I know I’ll be first in line for some product! My original SuperTed plush sits on my desk – he’s looking his age but his energy and message is stronger than ever. Please, please, please bring him back – the world needs more Super Teds (and Spotty’s)!

David Born, CEO, Born Licensing & Born to License
I’d love to see Captain Planet make a comeback. With climate consciousness at the forefront for younger generations, the brand’s eco-forward message feels timelier than ever. A rebooted animated series or even a big-screen adaptation, in the spirit of Masters of the Universe (coming 2026), could be incredibly impactful. The storytelling potential is huge, and the licensing opportunities that could follow. Toys, apparel, educational content and eco-conscious product ranges would resonate with a generation that cares deeply about the planet. The time feels right to bring Captain Planet back into pop culture in a meaningful way!

Ian Downes, Director, Start Licensing
One TV show I always made a beeline to watch in the 1970s – yes I am that old – was We Are The Champions. It was a BBC show presented by the wonderful Ron Pickering. Ron was one the BBC’s leading sports presenters at the time and, specifically, their resident athletics expert. We Are the Champions saw three schools competing in a series of team challenges that were loosely based around athletics, swimming and other sports events. It was fun and engaging. I seem to recall Ron being joined by a sports star of the day as his co-presenter. I was always trying to get my Waterloo primary school to compete in We Are the Champions but now realise we were probably under resourced, and our teachers had other priorities, like teaching us to read and write. A TV televised sports day wasn’t high on their to do list!

We Are the Champions succeeded in delivering a competitive sports competition in an engaging and credible way, with children as the stars. It was, to use modern parlance, relatable. I think the format could work well now and could be linked to other schemes to encourage children’s participation in sports. It may well appeal to sports associations and the government as a promotional platform for their aims.

I am sure a modern production company could get a lot of sports stars involved and, depending on the channel, it would be an attractive sponsorship opportunity for certain brands. The format could be revamped with contemporary graphics, settings and challenges, and I think it would translate well to licensing in regard to outdoor toys, play equipment and live events. I could also see it working well in on-pack promotions, maybe even linked to other sports events and programmes like Park Run. We Are the Champions also has scope for international syndication format wise as well.

Sadly, Ron Pickering is no longer with us, but I understand a certain Gary Lineker has a bit more free time now and would be a strong candidate for the Ron role. Indeed I believe he presented a one off version of We Are The Champions at one point, so knows the format well!

Rob Ames, Co-Founder, Triclops Studio
There’s been a tsunami of returning retro brands over the last few years – 80s, 90s and I’m guessing it won’t be long before we start to see early 00s IP rebound. Whether it’s the trendy ‘Kidult ‘ market or a reimagining for today’s youngsters driving their reappearance, it’s safe to say my childhood is currently back on shelf – from He-Man and Care Bears, to Furby and Koosh. Even more obscure lines like Madballs, Cowboys of Moo Mesa, Biker Mice from Mars and Barnyard Commandos are available once again.

I was going to plump for another fond 90s childhood toy IP – Monster in my Pocket, the PVC, neon-infused collectibles line (not the awful 2006 second generation version!) I definitely think the line could make a comeback given pocket money offerings are trending again, as are blind boxes/bags, but also its strong brand stretch potential with spin-offs, such as Wrestlers in my Pocket or Aliens in my Pocket. Its MIMP supporting comics, trading cards, lunch boxes – and there were even bum bags and caps! – were amazing too.

HOWEVER, I’m going leftfield… Let’s bring back 90s streetwear clothing brands: Thrilla Krew Gear and/or Maui Surf Co. What’s old is new in fashion these days. Levi’s, GAP, Ed Hardy, Juicy Couture and FILA are all set to make major comebacks this year and next, so why not either of these iconic properties.

As an impressionable 11-year-old growing up in gloomy Leicester, the US sunshine surf and skate scene seemed soooo rad – with its gnarly graphics, cool characters and vibrant colour palettes. Thrilla Krew’s Thrilla Gorilla and Da’ Boyz were cool and humorous (I wasn’t aware of Santa Cruz till my teens!), and Maui’s rare, The Legend of Sharkman action figures (inspired by the tee’s iconic frontman) were always on my wishlist when out toy shopping, but sadly they never made our shores! I was lucky enough, however, to get my grubby mitts on some Maui board shorts and a few Thrilla Krew ‘Street Krew’ t-shirts when I visited Florida for the first time on a family holiday… I wore them to death, much to the envy of my mates back home.

Some 30 years on, I believe Thrilla Krew and Maui are both re-releasing limited edition tees, and Super7 released a Thrilla Gorilla ReAction figure last year – but surely they’re ripe for a much bigger revival!? Both tap into the current resurgence of 90s and 00s sportswear trends and could easily be marketed towards a new audience through a mix of nostalgia, endorsement and social media.

Crossing the streams with credible brand collaborations is also hot right now, so what about a graphical Thrilla Krew x Stussy crossover, or a Maui x Palace capsule collection like their recent Oakley one. Maybe hiring a ‘celebrity’ creative director/visionary to lead the charge – like the recent hirings of Nigo at Uniqlo, Pharrell Williams at LEGO, and Salehe Bembury at Puma – could help fuel a credible comeback? As well as clothing, both brands have the scope to release a plethora of themed accessories too – another big streetwear trend. Supreme seems to nail every accessory they drop, whether it be a water bottle, water soaker or jet ski ! Sunglasses, caps, beach bags, shoes or towels… The possibilities are huge.

Helen Lynch, Retail Consultant & Executive Coach, HL Retail Brand Licensing Consultancy
One IP I’d love to see make a comeback is The Good Life. Tom and Barbara ditching the rat race in suburban Surbiton to grow veg, raise chickens, and live off the land – much to Margot’s fabulous horror. It was a brilliant example of popular cross generational 70s telly, loved in our house!

When it first aired, it sparked a real shift. Allotments became trendy again, people got into preserving, pickling, making their own wine… And post-pandemic, we’ve seen that same energy come back. Sustainability, climate action, doing more with less.

Brand licensing today? I had fun –and a little help from ChatGPT – thinking about retro-style, vintage artwork and slogans on tees, mugs, stationery, kitchen linens with cheeky nods to self-sufficiency and current trends such as ‘Grow Your Own Way’ ‘Powered by Parsnips’, ‘Barbara Runs This Plot’, ‘Margot Wouldn’t Approve’ and ‘Keep Calm and Muck In’.

Given the relevance of the show’s values today – sustainability, community, and living more consciously – beyond just nostalgia, there’s space for clever collabs… Garden centre collections, grow-your-own kits, craft kits, sustainable homeware, seed calendars, and even community market-style pop-ups. Experience-wise, I could see a “Good Life” retreat or workshop series going down really well.

The show does reflect the broadcast standards, language, and attitudes of its time and some of the original content is dated now. The 2010 Giles & Sue reboot proved it can flex into modern culture and opens up the chance to retell it in a fresh, relevant way. Personally, I’d love to see Barbara and not Tom front and centre – strong, capable, and making it all work behind the scenes. The Good Life today? It’s all about joy, resilience and doing your own thing – and that’s a story a lot of people want in their homes right now.

Another nostalgic brand I’d love to see make a comeback is Instant Whip – the convenience dessert that ruled British teatimes (and our house in the 70s). It was a proper treat of my childhood – light, fluffy and yummy!

Made by Birds, Instant Whip had real character. Then along came Angel Delight – also Birds – with a smoother, more grown-up vibe, and by the 80s, Instant Whip was quietly slipping down the rankings. But let’s be honest, while Angel Delight might’ve stuck around, it never had the same personality. Instant Whip had the Whirlin’ Magician, on-pack comps to win fab t-shirts and even tie-ins with legends like The Magic Roundabout. It was fun!

There are loads of opportunities for lifestyle brand licensing and collaborations. It could be cleverly repositioned for today’s themes of retro comfort and authenticity, bringing it back with a twist – pastel packaging, retro fonts… Perfect for homeware, slogan tees, mugs, retro kitchen appliances, gifting and more.

Also, there’s real scope for foodie collabs – with updated ingredients for a more health-conscious era. Those classic Instant Whip flavours – strawberry, chocolate, vanilla, banana – are on trend for retro milkshakes, or ice cream desserts. Or a cheeky chocolate bar with a whip-style centre or even a Whip-flavoured cocktail… You’ve got something for every age and occasion.

Instant Whip has that rare mix of nostalgia, charm and a bit of untapped magic. With smart positioning, the brand could deliver a fresh wave of relevance – especially when paired with partners who understand how to blend nostalgia with modern-day formats. I’d love to see Instant Whip ‘re-whipped’ for today’s consumers!

Louise Simmonds, Licensing Industry Expert
One of the early 80s Saturday morning animations that I raced onto the sofa to watch was The Raccoons, which to me had the most awesome theme tune… I can hear it now: “Run with us, we’ve got everything you need…” This has now also got me thinking of Dogtanian for nostalgic 80s children’s TV theme tunes! Other than The Raccoons’ excellent song, there are several reasons that support a revamped licensing campaign aimed at a new children’s audience, as well as utilising the original artwork for a retro vibe that would be aimed at young adults.

Central to each episode is the important message of environmental protection. The protagonists, the raccoons, are always thwarting the villain Cyril Sneer from finding ways to profit from the deforestation of their home, ‘Evergreen Forest’. This is a positive message that remains highly relevant and significant today.

With a play pattern of good versus evil, coupled with themes of friendship and overcoming obstacles this offers toy, plush and digital gaming opportunities. It’s humorous and appeals to both genders which supports the apparel and home categories too. Finally, music was a feature in the episodes which can help bind a licensing and marketing strategy together.

James Oddy, Co-Founder, Vize
I was always a massive fan of Jayce and the Wheeled Warriors — it was such a unique and imaginative show. It followed the Lightning League, a heroic team piloting customised, weaponised vehicles in a battle against the monstrous, plant-like Monster Minds. The mix of sci-fi, fantasy and rich storytelling made it unforgettable.

With today’s appetite for nostalgic IPs, Jayce is perfect for a reboot. Its distinct style and under-the-radar status would appeal to a generation that values retro culture – making it both a smart and stylish licensing opportunity.

Adam Colp, Co-Founder, Vize
I would love to see Centurions rebooted. This show would work so well now as an updated anime or even CGI series.

The premise of the show was hero characters with mech armour saving the planet, which could be customised with different weapons and accessories. With all the current mech series on at the moment – like Transformers, Gundam or Love, Death and Robots – it would fit in nicely.

In licensing, costumes would be next level with clip-on accessories, not to mentioned rebooting the action figure line. Brings back some serious fantastic memories!

The post Talking Brands: Retro revival… Which brands are ripe for a comeback? appeared first on Brands Untapped.

The book franchise has earnt loyalty and trust over the years – and it’s a brand that evokes emotions. There will be happy memories it has helped create, and the brand will also inspire a longing for future adventures whether that be near or far. Being able to leverage the emotive and inspirational elements – combined with the trust and respect the brand has built – offers a solid foundation for a licensing program. Focusing on trust and respect could open opportunities for collaborations with adventure clothing, travel and equipment brands, and perhaps in the area of educational games and toys.

Picking up on the inspirational and emotive angle, there could be home, beauty and lifestyle collections that capture the essence of a certain country or place. There could be an opportunity to think about experiences to enhance the shopping environment too, or maybe some exciting technology that brings the experience of discovery inside your own home and compels you to go on an adventure and see for yourself.

What appeals is that the brand is not a trend… Its roots are global, and adventure and learning apply to both kids and adults. In terms of scope, there could be multiple approaches and applications. Something that inspires you and creates a happy memory is a wonderful thing.

Ian Downes, Start Licensing
I have selected two book series that I think have potential in specific categories of licensing. The first is Dick Francis’ series of crime novels set in the world of horse racing.

As a fan of racing and crime I have read most of these books. I enjoyed them not least as Francis was very successful at blending the two subjects effectively. He was also a stickler for detail forensically researching his subject matter… For example, if one of the characters was a racing photographer, he would include lots of details about photography and cameras. After his death, one of his sons – Felix – has kept the franchise going.

My idea with the Dick Francis series is to create the Dick Francis Racing Club. The club would own a racehorse – clubs and syndicates in racing are very popular – and would be an ‘added value’ one with social occasions linked to the books and book locations. It would also include special offers on books including any new launches – indeed book launches could become events in their own right. It would also act as a forum for like-minded people to meet. The Dick Francis brand would resonate well in the racing world.

My other pick would be Ed McBain’s 87th Precinct novels. These were a series of all-action crime novels set in a fictional American police precinct. We follow the detective squad as they solve crimes. Rather like Francis, Ed McBain took a very detail approach to his storytelling and included granular details that were part of the cases being investigated – indeed in some cases he included visuals of ‘clues’.

I read these books as a teenager and they were a great read and I think they inspired TV series like Hill Street Blues. I’m not sure they are still in print, but the 87th Precinct series and universe would be a wonderful starting off point for a series of board games and could also work as an immersive experience. I think a well-structured PR and social media campaign would help with re-awakening the love of the books readers like me have – but it would also pique the curiosity of new fans.

It really is a classic crime series – who knows the books might get re-published… I have often thought about publishing them myself!

Billy Langsworthy, Brands Untapped
My pick is one that I don’t see kids necessarily dressing up as for World Book Day, but it’s got plenty of product potential – the Hobtown Mystery Stories series of graphic novels from Oni Press.

Set during the Nineties in a ‘charmingly bleak village’ in Nova Scotia, Hobtown Mystery Stories is, in a nutshell, Nancy Drew meets Twin Peaks. The brainchild of Kris Bertin and Alexander Forbes, it follows a group of teen sleuths who call themselves The Hobtown Junior Detective Club. They solve strange goings-on that each build up a picture of the peculiar, troubled history of Hobtown. It’s visually striking, funny, compelling and very, very odd in places.

Why does it suit product? First, it’s got an incredibly defined style and sense of place, which could lend itself to ‘in-world’ product, or assets that could suit ‘if you know, you know’ apparel. The opening of the first book – The Missing Men – contains a detailed map of the town, while the second ­– The Cursed Hermit – opens with a detailed ‘Historical Guide of Hobtown’ pamphlet. Two members of the group wear ‘Hobtown Bitingfish’ jackets. Stores and services in the town – like Clean & Happy Cleaning Company or The Propellor Club – are packed full of detail and character. H&M recently launches a Great Northern Hotel t-shirt for Twin Peaks fans. Hobtown fans might go for something similar centred around the nefarious Knotty Pines School.

Away from the town itself, there are plenty of strings to pull it when it comes to product. The mysteries could lend themselves to board games, the remarkable panels would look terrific as art prints, there could be fun experiences or themed escape rooms, and it has a cast of weird and wonderful characters that could suit plenty of different categories. I’m even sure a plush version of Hobtown’s strangest resident – the Mini-Man – would appeal to some…

The other thing to note is that while it’s got ‘cult’ vibes, it’s on the rise. Hobtown Mystery Stories were first published by Conundrum Press in black and white back in 2017. Oni Press picked it up and reprinted the two books last year, this time in colour thanks to colourist Jason Fischer-Koui. Oni Press is also now continuing the series, with a third book – The Secret Saucer – landing in November. Two further titles also in works, so as the audience grows, so too may the appetite for licensed products.

I was also going to send up a flare for the terrific Beneath the Trees Where Nobody Sees, a fantastic comic book series from IDW correctly described as ‘Dexter meets Richard Scarry’s Busy Town’. But just last week IDW appointed Segal Licensing to helm a consumer products push for the brand – so that wish is being granted and I’m excited to see what comes from it.

Samantha Warrington, Search Press
As the mother of two young boys, I appreciate this might be quite a biased response, but I think the Dog Man graphic novel series by Dav Pilkey are absolutely ripe for licensing!

Judging by both my Instagram feed and the many other canine fancy dress costumes at the school gates on World Book Day, my son wasn’t the only child who chose to dress up as the heroic part man, part dog character Dog Man. The 13 Dog Man books published to date and the full-length feature film released this Spring have all been hugely successful – with at least three book titles topping the current bestseller lists.

The hilarious crime caper comics have built up a massive and dedicated fanbase and following worldwide. The bold lines of the drawing style are instantly recognisable as a brand and would lend itself easily to a range of merchandise, from clothing to toys, games and beyond.

Additionally, the Dog Man books are filled with positive messages around friendship, laughter and kindness, but most importantly they get kids off their screens and teach them to really love books! This means that parents and educators are always going to be happy to buy further into the brand – and keep their little ones reading!

From my point of view as a publisher of art and crafts titles, I would absolutely love to commission a How to Draw Dog Man book…

The post Talking Brands: Following World Book Day earlier this month, what book properties are ripe for licensing? appeared first on Brands Untapped.