And what makes Sonic so strong is that mix of audiences. You’ve got kids coming into it through the films and TV shows, and then people like us who grew up with the games – so it hits both sides. And creatively, it’s just a great world to work in. Everything’s fast, bold, energetic – big environments, iconic characters, Eggman as this over-the-top villain… It gives you loads to play with. That’s why it’s stayed so strong as an IP.

Can you talk us through a few recent guides – what were the briefs, and how did you tackle them?
SEGA usually comes to us pretty early, often like a year ahead, with either trend-led briefs or specific collaborations. If it’s trend-led, we tend to look at what’s happening more in the adult space first, then think about how that can filter down into kids’ products in a way that still feels fresh. At the same time, we’re always trying to find a hook that feels right for Sonic.

One we did recently was Sonic Shinbun, inspired by Japanese newspapers, manga and anime. That whole space is massive right now, so we leaned into it – kept the colour palette tight, used bold Japanese typography and pushed the characters into more of an anime-style world.

“We worked on the Sonic Olympics guide, which was quite different for us… It was about stripping things back and making it really punchy.”

Then on the flip side, we worked on the Sonic Olympics guide, which was quite different for us. Normally we like to go quite detailed and story-led, but that one needed to be much cleaner and more graphic. It was about stripping things back and making it really punchy and usable. We’re also working on a Sonic x McLaren guide, which is a really nice fit – speed meets speed. That’s been a fun one.

What are some of your favourite assets across the guides and why?
It’s tricky to pick one thing. For us it’s always about the key art – the overall compositions. That’s where we spend most of the time, trying to create something that feels really impactful. We tend to lean towards the more comic-style approach – strong silhouettes, a bit more drama, and some storytelling in there.

But honestly, one of the best parts is seeing what happens after. When licensees take the assets and adapt them for product – sometimes they push it in a direction we didn’t expect, and it actually elevates it. That’s when you know the guide’s doing its job.

Sonic is 35 this year – why do you feel the brand has endured? And what makes it such a strong fit across consumer products?
It’s mad that he’s 35! It’s funny because people outside of licensing always ask how Sonic is still going – especially after SEGA stopped doing consoles – but that just shows how strong the brand is beyond games.

At its core, it’s all about speed and attitude. And that translates easily across loads of different areas. That’s why collaborations with the likes of Puma, the Olympics and McLaren all feel like a natural fit. On top of that, you’ve got the nostalgia side – people who grew up with it– but it’s constantly being refreshed with new content, films and games, so it never really drops off. That mix is what keeps it relevant.

The post Vize’s Adam Colp and James Oddy on crafting creative for Sonic appeared first on Brands Untapped.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Some other quick thoughts:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The post PAW Patrol and Bluey rollercoasters are on the way… Which other brands are ripe for rides? appeared first on Brands Untapped.

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,

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

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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.

For example, we helped launch SEGA’s new racing game Sonic Crossworlds, gave Garena’s Free Fire a bold new look, and channelled pure nostalgia with original artwork for the return of Shinobi… One of our all-time favourites.

And as we head into our 10th year as Vize Creative, we’re feeling nothing but grateful. To still be doing what we love, with people we admire, for brands we grew up with… It’s the kind of career we dreamed of starting out. Here’s to the next chapter!

Absolutely – and congratulations on that milestone! You mentioned Shinobi there, a beloved video game series from SEGA. How was that to work on?
We all remember playing it for hours as kids – that’s the power of nostalgia! It brings back that fuzzy, excited feeling that never really goes away. With gaming titles, one of the biggest challenges is working with early assets that aren’t final. Most of the time, we’re creating artwork before the game’s even finished…

It’s crucial that our work captures the core story and stays true to the feel of the key art and early marketing vibes. Then, when updated character designs arrive, we can swap them in without having to reinvent the art direction. And the fun part? Diving into all the rich game art and translating it into a licensing program – all while keeping that classic ninja, old-school arcade energy running through everything we create.

Do you find projects inform each other?
Absolutely! Every art direction we take is unique to the brand – because each one tells a different story. While we might spot trends or visual ideas that spark something across projects, the heart of the creative always comes from the brand itself. We keep all our trend boards, and sometimes we’ll notice a style or treatment that could work beautifully for another client – with a twist, of course!

We’re also constantly bouncing ideas around, and inspiration comes from everywhere: artists we follow on Instagram, exhibitions, street art, fashion, pop culture… You name it. We often get feedback that our folio shows a real mix of art styles – and that’s something we’re proud of. We don’t have a fixed in-house look because we believe every brand deserves its own visual identity. It’s about recognising creative patterns, not repeating them. Each project should feel like its own world.

Are there any current design trends that you’ve found interesting, inspiring or applicable to the licensing industry?
With all the AI chatter – you can’t escape it! – and innovations like robots, autonomous vehicles and VR, it’s easy to drift into Matrix and Terminator-style dystopian thoughts. One massive trend making a comeback is retro-futurism and pixelation. We’re starting to see new games with an old-school Nineties arcade aesthetic and we think that style will cross over into a variety of licensed brands. It’s that cool mix of nostalgia and future tech that really catches attention.

“One massive trend making a comeback is retro-futurism and pixelation.”

What are some of your key aims for Vize moving into the rest of 2025 and beyond?
Our focus for the rest of 2025 and beyond is on bringing in more gaming clients as we continue to scale and diversify our creative capabilities. Gaming brands have made incredible strides in how they engage their fanbases – just look at what Mojang has done with Minecraft. From the movie to expansive brand extensions, it’s a masterclass in immersive world-building.

At Vize, we’re aiming to produce more sizzles, digital content, retail experiences and large-scale experiential design. For us, it’s all about creating work that connects, excites, and leaves a lasting impression. We’re ready to level up – oh, and to update our website!

Ha! Do you think the licensing industry is in a good place creatively at present?
We believe the licensing industry is always creatively rich, because at the core of every strong brand is great storytelling. But it’s up to licensees to take that foundation and be bold with it. Too often, we see the default: a giant character and a logo slapped on a product. And while minimalist design has its place, we’re far more excited when brands are pushed, when IPs are reimagined with fresh thinking and when storytelling stays front and centre. That’s where the real magic happens.

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James Oddy, Co-Founder, Vize Creative: Clients present us with characters with somewhat static poses – typically following core style guides – and ask us to inject more energy and dynamism. Sometimes, the task requires us to keep the character’s traditional look, while other times, it involves exploring new directions. we’re capable of both.

We excel at embracing various styles. Recently, we worked with the Frida Kahlo brand on a highly detailed painted render, but we’ve also ventured into more abstract work. Our broad skill set enables us to take on diverse and exciting projects, and we’re fortunate to work on so many unique briefs.

“It’s all about thinking like a fan.”

Adam: We can work across any genre, with any type of brand. We’ve worked on everything from Wednesday to Frida Kahlo, The Pink Panther to Transformers… It’s an eclectic mix of work.

Does your approach to character illustration give your style guides a certain edge? Can it make them more effective, more versatile?
James: Yes, it effectively turns us into a single-source provider. We cover both illustration and style guide needs, which means brand owners don’t have to seek out different agencies for these services. We manage both aspects seamlessly.

Beatriz Alvarado, International Affairs, Frida Kahlo Licensing Group: There are many talented artist out there who can draw and create, but what keep us working with Vize is their ability to truly understand what we need. Unlike other studios – not just because their incredible talent, but because they also understand the deeper intent behind every piece they create. That kind of insight is rare. Although they are an external studio, I consider them a part of our brand, an extension of my team. Vize doesn’t just work for us; they work with us, as if they were part of our own team.

James: Recently, we sent Bea a project we worked on, and she said, “You read my mind; that’s exactly what I envisioned.” We always strive to connect with our clients’ vision. Bea is super creative with lots of ideas, and we love at bringing her vision to life.

Bea, do you see a commercial effect with regards to how Vize’s creative is embraced by licensees?
Bea: Great creative work should serve a commercial purpose, absolutely. Whether it end up in a book, or on a coffee cup. It’s important that all our brand extensions authentically capture the soul of Frida Kahlo. That’s what resonates with our customers and our licensees – and that’s what Vize excels at. Take, for instance, their work that went into the illustration book for kids… That’s an amazing piece that will stay with us for years; people will remember it – and their great work is a key part of that. Their work on this year’s guide was equally incredible, especially considering how challenging this request was.

“We can work across any genre, with any type of brand.”

James: Yes, it was a guide inspired by AI. We imagined how Frida Kahlo, if she were alive today, might feel about AI as an artist. While we explored the theme of AI, the work itself wasn’t AI-generated—it was painted. We drew inspiration from the technology to create something truly original. To my knowledge, no one has ever created an AI-inspired hand painterly style guide before. It’s a fresh concept that challenged us creatively, and we loved every moment of it.

What do you feel is the key to successful enduring relationships between brand owner clients and a creative studio like yourselves?
James: Our focus on putting in the extra effort has proven effective in retaining clients. Since our clients all work differently, maintaining flexibility is important.

Adam: Transparency is another big one. You’ve got to be able to be honest and able to question each other. And we’re genuinely fans of the brands we work with, so we’re into the work – and that shows in the effectiveness of what we create. These are all passion projects for us. We’re also big on communication and collaboration. We don’t just take a brief and run with it. We like to talk and discuss briefs to ensure we fully grasp what the partner wants.

Bea: For me, it’s all about understanding the client. We’re a global brand – our immersive exhibition has travelled to 20 cities around the world. Despite our size, we stay true to Frida Kahlo’s values. We’re not corporate; we’re warn, inviting and infused with the Latin spirit and soul of the brand… At our shows, we talk about life as much as we do about business. What makes our relationship with Vize so successful is their deep understanding of who we are – but then they can switch their mindset and work with a brand that have a completely different approach.

“Although Vize are an external studio, I consider them an extension of my team.”

On that, what is your process for getting to grips with brands?
James: You’ve got to do the research and know the brands and characters inside out. Every company is different; every request is different. It might be a large core guide or a shorter trend guide. Creative versatility is essential, as you might find yourself working on both a preschool guide and an adult guide simultaneously.

Adam: If we’re working on a kids’ brand, I’ll sit down with my two mini experts at home and watch the show or film together.

James: We also work with retro brands, like American Psycho, which was truly a dream come true for us. The same applies to Ace Ventura. We have a strong connection to these brands from our childhood, and infusing new life into these iconic IPs is very rewarding

Adam: One thing we also do is engage with related trends or material that might complement what we’re trying to do. If we’re working on a manga brand, it can be useful to spend time engaging with other manga brands. When we worked on a guide for Universal Monsters, we tried to empathise with a horror fan. It’s all about thinking like a fan and immersing yourself in their world as best you can.

Sounds like a winning strategy. Thanks again guys.

The post Frida Kahlo Licensing Group’s Beatriz Alvarado and Adam Colp and James Oddy of Vize discuss the key to successful creative collaborations appeared first on Brands Untapped.

Maybe it’s the 80s nostalgia, the iconic monsters or just that memory of watching a great horror movie – possibly underage! – in our youth. We all have massive brand awareness of characters from these movies. A lot of people have probably never seen the original Hammer horror Dracula movies, but everyone recognises the Fangsome villain.

Could it be that horror movies are the ultimate popcorn style films? We don’t always see them for a great storyline or a thought-provoking twist… We watch them for the thrill ride they send us on – the jumps, the chills, the suspense, the gore, the craziness and, of course, the unstoppable villain.

The sign of a great horror movie is cult fandom and, more importantly a sinister, memorable and charismatic villain. We’ve had the privilege of working on some fun creative for some great horror themed titles.

One of our chunkiest jobs was illustrating new assets for all the original Universal Monsters titles – The Wolfman, Dracula, Frankenstein, The Bride of Frankenstein, The Creature from The Black Lagoon and The Mummy. A lot of these titles were really old, with the only reference being the monochromatic movies and fan art sculptures.

We used these as a starting point. That – combined with some Vize artistic license – made some really fun and nostalgic art which Universal created an amazing apparel range, in partnership with Dolls Kill.

We also had an unexpected surprise to see the art also being used as a photo op at BLE this year!

Another gory project that we have mentioned here before was American Psycho; it’s just a dream project for us! Check out the apparel range on dumbgood.com it’s insane! The Pierce and Pierce Frosted Anorak is so much fun.

We also turned our hand drawing typography skills to the already cult classic 80s- themed series, Stranger Things! We created a really fun and interchangeable asset pack. The illustrations and editorial were very scratchy. The assets certainly came to life when we started placing them onto really trend-driven apparel shapes… We love the randomness of this and the style guide is bursting with storytelling!

There was so much we wanted to share with you on this topic, but we have to keep some projects up our sleeve…

Chills, thrills, monsters, frights and gore – who doesn’t love a good horror movie?
Well, we certainly do. We even created a fun and spooky sizzle of some of our favourite work to showcase for Halloween. You can check it out below:

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Across those years, what’s been your best BLE memory?
Oh that’s an easy one, bumping into The Hoff… Literally!

Ha! That’s the second time The Hoff has been mentioned – WildBrain’s Michael Ogunseitan also had an encounter! Now, what makes for a good BLE meeting?
I love meetings where we initially find common ground, it could be people we all may know, an IP we love or we may already be working together. We usually treat BLE as an opportunity to meet our friends and colleagues, but if they have a project already in mind for us, that’s a great meeting!

And what’s your key aim for this year’s BLE?
We love meeting new people and to use it as an opportunity to showcase real life examples of how we’ve helped other IPs grow through our creative offering.

Before we let you go, can you give us a BLE tip or recommendation? Could be a restaurant, pub, venue or show advice…
Tricky one! Personally I’d recommend going into town – but if you wanted to stay locally, Zero Sette is a good local Italian. If you head into Canary Wharf, you have Hawksmoor Wood (not for vegetarians), The Ivy and – for something cheap and cheerful – Franco Manca.

Great stuff. Thanks James – see you at the show!

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

BLE 2023 runs at ExCeL London from October 4th to 6th 2023.

The post BLE tips & tricks with… Vize’s James Oddy appeared first on Brands Untapped.

Oh? You didn’t set up Vize right away?
Adam: No. For a short while, we just seemed to be working at the same places. Setting up Vize happened organically – starting with a chat in a Soho pub. It was a huge learning curve to start off, but now we’re seven years down the line with year-on-year organic growth.

And what’s your elevator pitch?
Adam: Our elevator pitch is our work – it really does speak for itself.

Very good! Let’s talk about the work, then. For context, whom do you count among your clients?
Adam: We’ve worked with many of the big character I.P. owners in the licensing industry: Pokémon, Universal, Warner Brothers, MGM… And last year we were named one of Hasbro’s top-five agencies to work with. Also, I believe we’re the only agency outside the US that Sega works with.

James: We’re also privileged to work with some very sophisticated I.P. – like Frida Kahlo, for example. We’re always adding new clients to our retained client base. We’ve been working directly with Marvel creative team in the US; we’ve really enjoyed working with Netflix – and we’re now working on some pre-school brands for Moonbug.

It’s quite the logo wall! When a brand, company or property comes your way, what’s the most important thing for you to know about it?
James: In my opinion, the most important part of an existing I.P. is: who are its fans and users? And what’s aspirational to those engaging with the brand? It’s so important because – when we’re working on a property that’s close to people’s hearts – we need to make sure we keep the identity and DNA of what fans love, while creating newness at the same time.

Because of this, we need to know what kind of lifestyle the fans have and what else they love. We can then lead their favourite I.P. towards those things. Collaboration culture has been integral in getting this right. You’ll often see brands struggle to stay relevant when a creative team fails to ‘get’ the brand DNA. It’s because the design is too generic; it doesn’t really have a meaning to back it up.

Vize has a reputation for producing fantastic style guides. Aren’t they all more or less the same, though?! Copy, paste… Done!
Adam: No, every single style guide is 100% bespoke! Style guides are the same in the respect that they all contain assets to be used on product and merchandise, placements, badges, patterns and so on. However, each guide we work on takes form after finding a trend, or graphic and illustrative direction…

Like all agencies, we use the usual trend forecasting sites to find a hook that will work with a brand for an upcoming quarter – but this doesn’t always translate well. We always prioritise the brand over the trend. So if, for instance, Aztec patterns are the biggest upcoming trend, it doesn’t mean it’ll work incorporating it into the I.P.

No; I can see that. Good answer. So tell me… Of your recent projects, which one – that you can talk about, obviously – represents the best of Vize Creative?
James: One that we can discuss was for Miramax via Evolution Licensing. We were briefed to create the American Psycho anniversary style guide…

Oh, wow!
Adam: Right? We couldn’t believe our luck – James and I are massive fans of the film, so we were buzzing. We obviously had to watch the film again and channel our inner ‘Patrick Bateman’. Ha! But maybe not too much! We went down a punky direction, with lots of iconic storytelling from the film. The guide has gone down really well – the product looks fantastic and we even had some of our artwork made into NFTs – one sold for $200k!

Brilliant. Let me ask you this… If you weren’t doing what you do now, what would you be doing?
Adam: I would have to be doing something creative, whether it’s designing, illustrating… Maybe creating NFTs, or something basketball related. I’m a massive lover of the sport, the culture and – of course – the sneakers.

James: As a creative mind, I have a million ideas and projects I’d love to get off the ground… Maybe when I retire. Other than that, I’d probably be a Naval Aviator.

All very achievable! Good answers. We need to wrap this up soon, chaps, but what’s the one question I should have asked you but didn’t?
James: There’s two… First, “How many steps do you have in your nighttime facial regime? You guys look great!”

Yeah. I might ask that… Just out of interest, what’s the other one?!
James: What do you do outside of work? We’re both keen sportsmen – Adam plays a lot of basketball; I enjoy cycling.

Perfect. Let’s finish with one last question: what’s next for you? What’s the future of Vize?
Adam: We’re doing well. We’ve been approached by investors with their own growth strategies and – while we considered this approach – the decision was to continue our organic approach.

James: We’ve really enjoyed exploring the Web3 space, working on V Friends NFTs. We’re also very excited about our collaboration with Russell Singler and Natasha Dyson on Advisory Bored – which is a licensed collaboration of BAYC holders. The style guide is really fun and flexible – we think it’s going to be a fantastic I.P.

Adam: In short, we love what we do and being our own boss! We’re really proud of Vize as it competes against much bigger agencies, and punches well above its weight… So we’ll be bringing on more clients, changing up I.P. and rising to new creative challenges. That’s what we love!

Fantastic stuff. Thanks James; thanks Adam.

The post Adam Colp and James Oddy from Vize Creative discuss their fan-first approach to I.P. appeared first on Brands Untapped.

In what Mattel hope will be something of a fresh purple patch for the brand, Barney’s return will span TV, film and YouTube content, as well as music and consumer products. There will also be apparel and accessories based on classic Barney, to satisfy adult fans of the brand.

“Barney’s message of love and kindness has stood the test of time,” said Josh Silverman, Chief Franchise Officer and Global Head of Consumer Products at Mattel. He continues: “We will tap into the nostalgia of the generations who grew up with Barney, now parents themselves, and introduce the iconic purple dinosaur to a new generation of kids and families around the world across content, products, and experiences.”

Fred Soulie, SVP and General Manager of Mattel Television, added: “In creating the new series, it was important to us that we properly reflect the world that kids today live in so that the series can deliver meaningful lessons about navigating it.

“With our modern take on Barney, we hope to inspire the next generation to listen, care, and dream big. We think that parents, many of whom will fondly remember the original Barney from their own childhoods, will love the show, too.”

Barney is just the latest icon of kids’ TV to get rebooted in recent times… Disney+ welcomed the return of The Proud Family in The Proud Family: Louder & Prouder and X-Men 97’ is in the works. Over at Paramount+, there’s been a recent Rugrats revival, while live-action reboots of Dora the Explorer and The Fairly OddParents are in development.

Elsewhere, Yogi Bear, Boo Boo, Huckeberry Hound and other iconic characters from the world of Hanna-Barbera got a reimagining in 2021 with Jellystone. Like the upcoming Barney reboot, the show’s characters were pitched as being ‘modernised for today’s family audience.’

With all this in mind, we asked Play Elevated’s Deb Weber, Imaginnovation’s Wayne Lindsay and Vize Creative’s James Oddy for their picks of shows that are ripe for a relaunch.

Deb Weber, Founder, Play Elevated
I’m going to have to go with Dragon Tales, because I think it checks all the boxes: nostalgia, educational, diversity, positive messages and role models, diversified portfolio (toy, books, music, games, toys, puzzles, live events), strong ratings by parent and child viewers, Common Sense Media, Parents’ Choice Awards, Emmy nominations – and academic research outcomes showing significant positive change in social-emotional and language skill development gains among children ages two to five years old.

From a mom perspective, Dragon Tales was one of my daughter’s favourite shows growing up! I thought the characters were lovable and engaging, the episodes were educational and helped her imagination and the series sent the right message to all kids.

On YouTube’s segment DefunctTV: The History of Dragon Tales, I learned more about the series that I think is worth sharing. The documentary explained that Ron Rodecker – educator, illustrator and creator of the Dragon Land storybooks the series was based on – believed that using the plot of the stories could be a way to “teach children to meet new situations with confidence”. The dragons could help children learn lessons and approach situations. Ultimately the show was compared to Sesame Street – that is, what Sesame is for academic readiness, Dragon Tales is for social-emotional readiness.

Given today’s climate and the needs of this generation of kids and families around the world, a relaunch of Dragon Tales could be opportunistic for many. Our young children have fallen behind in their social-emotional learning and development. Dragon Tales could once again, be an effective positive tool for parents, families, and educators alike; a tool to use as a platform to promote conversations with our kids! They face all kinds of challenges today, and the characters and storylines in the series demonstrate how kids can count on their friends and family to help tackle difficult social situations.

Dragon Tales is a perfect blend of “real” kid characters and fantasy-based characters that embody relatable traits for a wide age range and interests of children today. Introducing a catchy song – including lyrics with meaningful messaging in each new episode – and weaving in lessons – with topics including problem-solving and facing challenges together – made the series relevant and purposeful in the past and in the present.

There could be so much potential and opportunity for a Dragon Tales relaunch – it has my vote!

Wayne Lindsay, Founder, Imaginnovation
This question took me back! When it comes to iconic characters, the ones that pop into your head first are those that don’t need a relaunch as they’re still currently top of mind… So it was fun to reflect on the ones that are currently grounded, archived, memories.

It got me thinking about the intro to each episode of the much-loved Super Ted: “An ordinary teddy bear… When he was made, they found something wrong with him and threw him away like a piece of rubbish into an old dark storeroom. Then from outer space…”

Another favourite of mine was The Raggy Dolls. It had a catchy theme tune: “It’s not much of a life when you’re just a pretty face, just to be whoever you are is no disgrace. Don’t be scared if you don’t fit in, look who’s in the reject bin! It’s the Raggy Dolls, Raggy Dolls, Dolls like you and me…” I think these characters within a modern context would work really well to include themes like image, value, physical and emotional wellbeing, sustainability and more.

Which led me to another hot topic: Artificial Intelligence. For all that is said about it, we have an opportunity to showcase what an awesome tool it can continue to be in partnership with the human spirit, our imagination and our challenges. So naturally, I thought of a beloved British children’s programme first aired in 1985…Bertha! It featured a lovable machine – and catchy theme tune! – with a talent for manufacturing all sorts of products in the bustling factory with a cast of quirky characters, all filmed in stop motion.

A modern take on the show could have Bertha’s AI upgraded to incorporate the latest technology, and the facility where they work could be expanded to include even more exciting products and projects. With the addition of new characters, updated animation, and contemporary pop culture references, a Bertha reboot could capture the hearts of kids and adults alike.

AI-powered Bertha could teach kids coding to solve challenges, work with young inventors and explorers to learn science and technology and new ways to express creativity. Bertha’s deep learning and AI could be accessed from anywhere to help kids solve mysteries, catch villains and spot fake products using recognition and authentication capabilities. And then there’s the schoolwork!

And let’s not forget the toy range! With Bertha’s iconic design updated and cheerful personality, there are so many possibilities for a line of collectible figures or an interactive playset where kids can design and manufacture their own products alongside real-life Bertha, inspiring a new generation of problem-solvers.

James Oddy, Co-Founder, Vize Creative
I love brands that relaunch, but as a creative I get really excited about seeing new brands with plenty of characters and storytelling. For me, The Boy, The Fox and the Horse told a story of love, hope, friendship and the courage of asking for help. It seemed to resonate with so many.

As a child growing up in the Eighties, we were very spoilt for content and there is tremendous vault of brands that could be relaunched. I’ll start with pre-school and work my way up!

Some of us will remember Button Moon, this was a Thames (ITV) production, so simple yet elegant, very iconic and unisex. The characters were fantastically effortless but still very captivating and the show also had a really good theme tune. I can see this going into publishing, homeware, wooden toys and would make an incredible immersive world on the Roblox platform today!

I’ll also slip The Trap Door into the pre-school category. Funny, Berk, Boni, Drutt, The Thing Upstairs… If Aardman could remake this, I don’t see why this wouldn’t be a commercial success. And it also had possibly the greatest theme song ever!

Aged up; Jayce and The Wheeled Warriors was just amazing. At the time it was following the footsteps of other strong toy affiliated animated series such as G.I Joe and Transformers. I see a fantastic toy line here, and an anime style reboot would be phenomenal.

The Wild Thornberries has a more unisex appeal and Darwin looks like The Bored Ape Yacht Club NFT’s, so very relevant. Maybe they could rerelease it as an adult animated series and make it kind of abstract like Rick and Morty?

Just for my own selfish reasons, I’d also like Bravestarr to make a comeback! I was obsessed and again a toy range would be a perfect comeback. I mean who doesn’t love a futuristic cowboy? Could go even live action ‘Mandalorian’ style!

In the Adult categories, how about a comeback for MTV Celebrity Deathmatch? Will Smith Vs Chris Rock?

We receive a lot of requests from our clients for branded anniversary style guides. If you saw our American Psycho anniversary guide we did for Evolution, that was so fun to work on! We love relaunching characters so let’s celebrate the amazing existing franchise brands the licensing industry already has to offer, but also use the quality nostalgia to jump start ideas for new innovative content.

PS: I’m cycling from London to Paris for The Royal Marsden Hospital. I’d be so grateful for any sponsorship to this amazing charity, please head to my Just Giving page here.

The post Talking Brands: Mattel is bringing Barney back… Which other classic kids’ TV shows are right for a relaunch? appeared first on Brands Untapped.