We’re celebrating 50 years of the KISS legacy with a number of high-profile projects. We’re growing our portfolio of artists and meeting new partners, talking about how to push boundaries together.

One such partnership is with fashion house Dsquared2… They’re launching a KISS collection later this year. Why does that collaboration make sense for KISS?
Our ambition is to build long-term content roadmaps and ‘Universes’ for our artists. As we build our KISS Universe, we’re ‘phasing’ our approach… Phase One is rewarding fans and finding new audiences by embracing the storytelling and legacy of KISS. Dsquared2 is a perfect partner for this because they make very cool, elevated streetwear with a rock ’n’ roll edge. The collection launches later this year. We’re very excited.

And Phase Two?
Phase Two builds towards 2027 and the priority project, KISS Avatar Show in Las Vegas. Along the way, we’re planning the first KISS biopic, as well as documentaries, podcasts and gaming. There are key opportunities in fashion, lifestyle, toys and collectibles… Sport and entertainment partnerships are other areas of interest. Also, we recently activated a partnership with Montreal Canadiens – the national hockey team – on a KISS-themed night. That was a huge success!

What steers how you can unlock these bands and artists in live experiences?
A good example for us is ABBA Voyage. The tech is pioneering and state-of-the-art. The thing that makes ABBA Voyage so special, however, is the emotional connection. It’s the same with Mamma Mia! The Party, a Pophouse production – and also what will make the KISS show that we’re developing – special. It’s very emotional, we’re pushing boundaries, we want to show people things they’ve never seen. But storytelling is key.

How will the KISS Avatar Show differ from ABBA Voyage?
There’s an opportunity to do something with KISS that mixes an authentic concert-going experience with a something like a Star Wars movie and a Cirque Du Soli show… Mixing reality and fantasy in a way that hasn’t been done before. We ask ourselves: what would be the greatest KISS concert? That’s our starting point.

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The range draws inspiration from KISS’s Alive! tour merch from 1975.

“KISS has always been about pushing boundaries, both in music and style,” said Dsquared2 Founders Dean and Dan Caten.

“We wanted to create statement pieces that embodies that same fearless attitude – something that makes you feel unstoppable the moment you put it on.”

Jon Spalding, Pophouse Entertainment’s Commercial Director, added: “Artistic legacy is critical – how it is built, maintained, protected and evolved. Pophouse, in partnership with KISS have been working together to progress a series of special projects which deliver on their legacy and storytelling.

“We’re delighted to have partners in Dsquared2. Dean, Dan and the whole team really understand KISS’s unique place in the global story of rock and roll, while recognising how to add a modern twist to some of the most recognisable imagery in pop culture history. This project has been supported by UTA and Bravado who bring their expertise in launching this collection to market.”

The collection will be available worldwide in Fall 2025 at Dsquared2 boutiques, select department stores and fashion retailers.

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Pophouse invests in artists music catalogues – acquiring the music and IP rights – before developing them as global franchises. Most recently, Pophouse acquired the full music and IP rights of KISS, who join Cyndi Lauper, Avicii, and Swedish House Mafia in the portfolio. There are plans to grow the portfolio to make further investments, adding more artist catalogues and creative partnerships to the mix.

Our vision is to develop our artists brand IP through pioneering next-generation storytelling. A great example is ABBA Voyage, the record- breaking and pioneering concert live experience in London, of which Pophouse is founding investor.

We have built a team at Pophouse with experience in franchise and brand building – people have joined from organisations as diverse as Harry Potter, Star Wars and Absolute Vodka – so our approach is building long-term franchise roadmaps for our artists that includes content, gaming, partnerships, music and experiences.

What gives artists like KISS and Cyndi Lauper brand potential?
We put storytelling at our core – building on each artists unique DNA and fandom.

Take for example, Cyndi Lauper and her hit song ‘Girls Just Want To Have Fun’. You can still vividly picture Cyndi dancing down the street in New York City, 1983 wearing unique and iconic fashion that mixes pop and punk styling, her attitude, and a being a force of joy. The messages of individuality, equality, and self-expression are as relevant today as ever. The song has crossed over one billion streams and is a movement across all ages and genders.

With KISS, we have pop-culture icons of 50 plus years with a powerful history of storytelling – the first-ever band to appear in Marvel, with the iconic logo and imagery. Globally recognised for their personas and storied history.

In previous roles at Mattel, Disney and NBCUniversal, you were working with character brands. Is there much crossover in terms of how you’re approaching building programmes around musicians and bands?
At Mattel, I was lucky enough to work on the Barbie movie. Celebrating a 65-year legacy across multiple generations – like comparisons could be drawn here with KISS. With KISS, you have an incredible and dedicated global fanbase – known as the KISS Army. KISS really pioneered this space – the loyal fans, the clubs and creating the community within their fanbase.

“Our vision is to develop our artists brand IP through pioneering next-generation storytelling.”

When we build our programs, we always start with fans and their insights. We talk to the fans, and look at the brand DNA, the songs, the stories behind the songs, the artistry – to help us build new worlds and universes for our artists.

On that, do artists like KISS and Cyndi Lauper have an interest in how their brand is extending into different categories? Are they hands-on?
We work very closely with KISS, Cyndi Lauper, and Swedish House Mafia. It’s They’re always a true creative partnership with an aligned vision and approach, plus and great relationships. With AVICII, we work very closely with Tim’s family.

KISS, Cyndi Lauper, Avicii and Swedish House Mafia are all quite different as artists. Does that extend to them suiting different product categories when it comes to licensing?
Yes, it’s very varied. Let’s start with KISS for example. We are building a whole universe around KISS – movies, series, graphic novels, gaming, avatar shows, fan events and, of course, consumer products. The history of the band is full of great stories – our first phase is to celebrate this with content and partnerships.

Fantastic – and KISS seems perfect for partnerships. They have such a distinct style – you can ‘KISS-ify’ lots of things!
Absolutely. You can KISS-ify almost anything – and there’s an incredible history there. They’ve been in Marvel comics, they’ve done collaborations with Hello Kitty, Coca-Cola, Elevated Fashion brands to name a few. They have iconic imagery along with their era-defining music.

Now, what are some key considerations you make when assessing a potential licensing partnership?
We focus on the DNA of our artist and the partnership scope – the shared values, fanbase. What is the go-to-market angle? What is the ‘wow’ factor? We have a clear picture of how our partnerships will be executed and work backwards from this.

Are you a music fan Jon? And does that matter with regards to the job you’re doing?
I’m a huge music fan – I studied music at university! My first job was selling music at a distributor. It was always my dream to work in music again. I play and write music and, I’ve been in bands. It is truly a dream come true to work for Pophouse – to mix my love of music and my background in franchising and products background.

“You can KISS-ify almost anything – and there’s an incredible history there.”

Is there anything you’ve learnt about the artists since joining Pophouse that surprised you – and sparked ideas about potential brand extensions?
Every day we learn new things… My favourite so far is learning that KISS put do their own stage make-up on, spending two to three hours before each gig applying their own make-up. No team. The process of transforming and getting into character. We think there is a great theme to develop with a make-up collaboration, that is true and authentic to the KISS brand.

Great examples. I have one last question! What fuels your creativity and helps you have ideas?

I love collaborating. Meeting great people, seeing great things is inspiring. The licensing industry is great because there are some many brilliant people.

I I was lucky enough to see ABBA Voyage, a show that Pophouse is involved in and seeing the audience reaction to it is deeply inspiring. Underneath the state-of-art tech and future-thinking process, there is an emotional connection and great storytelling.
 
Jon, this has been fun. Thanks again!

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Linda Höljö joins as COO, Sophie Arendt has been hired as Mamma Mia! The Party Managing Director, while Jon Spalding has been appointed Commerical Director.

In addition, Natalia Fontecha has joined as Head of Capital Raising and IR, Sophie McKibbin has been appointed Business Affairs, while Ryan Amstad is the firm’s Head of New Production Development.

“Our work fundamentally redefines entertainment and how artistic legacy is enshrined for future generations – therefore it’s essential that Pophouse has the best people on our team,” said Pophouse CEO Per Sundin.

“Each of our new colleagues brings the unique experience and mindset needed to achieve our mission statement – to unlock the power of entertainment.”

New COO Linda Höljö added: “Pophouse’s position within the global entertainment industry makes this a superb time to join. In recent years the company has announced a string of deals and plans which I’m looking forward to bringing to fruition, alongside developing Pophouse’s next set of exciting ambitions for the entertainment industry.”

Mamma Mia! The Party MD Sophie Arendt added: “I am honoured to take on the role of Managing Director at Mamma Mia! The Party. The show concept has always been about creating unforgettable moments and bringing joy to people’s lives. I look forward to fully embracing the legacy of this incredible experience, pushing the boundaries of immersive entertainment, and ensuring that Mamma Mia! The Party continues touching the hearts of audiences around the world.”

Commercial Director Jon Spalding continued: “I’ve been a fan of Pophouse for some time and it’s an absolute joy to now work with their array of talent and artists. As Pophouse revolutionises entertainment, we have a tremendous run of exciting news in the pipeline that will further cement our position as a pioneer in our field.”

Head of New Production Development Ryan Amstad said: “In my new role at Pophouse I will be bringing our catalogues to life – on stage, as location-based entertainment, and exhibitions. I look forward to working with colleagues, our talent, and partners to deliver inspiring and high impact productions.”

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The collection includes 10 different styles, including hoodies, bomber jackets, t-shirts and caps. Each item is infused with Hot Wheels designs throughout, complete with checkerboard prints and flames, combined with the SDMN lettering.

The entire collection will be available at the official Sidemen shop in Bluewater shopping centre and at a pop-up store in the Hoxton Railway Arches from October 27th. This will be followed by an online launch on the official Sidemen Clothing website. The pop-up shop will run until October 29th.

“We are thrilled to be partnering with Sidemen on this collection – their creativity and enthusiasm for the collection has meant we have been able to create a co-branded capsule that brings both brands to life,” said Jon Spalding, Mattel’s Head of Consumer Products UK & Ireland.

Matt Peters, MD of Sidemen Clothing, added: “We are very honoured to be working with Hot Wheels to create a co-branded collection that is cool, relevant and that fans will love – we can’t wait to see our fans wearing it.”

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More’s the pity! Now… From Disney and NBC Universal to your current role at Mattel, you’ve had a long career in the industry. How did you come to it?
I started out as a musician at London College of Music. Once graduated, I worked for an independent music and DVD importer in West London – which led me to join a film company, and then Universal and Disney. After many years working in film, I began my career in licensing at Disney, and instantly loved the industry. Disney was an incredible place to learn about licensing and brands.

“Licensing is very relationship and community driven which makes it a very special industry.”

You say you instantly loved it… What’s the appeal?
Licensing is an incredible industry. Obviously, it’s rooted in entertainment and fantastic brands, but it’s also such an important part of pop culture and people’s lives. From breakfast cereal to t-shirts, toys to halo products – people interact with licensing products from morning to night. There’s such a wide and varied appeal – and type of consumer. Licensing is very relationship and community driven which makes it a very special industry.

Great answer, thank you. What does your role at Mattel involve?
My role is to lead Mattel’s consumer products business in the UK and Ireland, and the Hardlines and Fast Moving Consumer Goods business across Europe, the Middle East and Africa. We’re building something very special at Mattel, with our vision of transforming our business to an IP driven, franchise-first company. We have a great, ambitious team and we’re supported by the wider business. Our role within consumer products is to build the very best programs to ensure fans and consumers of our brand can engage with our brands, however and whenever they please.

Of which, you must be thrilled with how the movie Barbie is being marketed – and received. What kind of unusual consumer-product opportunities has this film opened for you?
Barbie has really caught the imagination of the public and we partnered with Warner Bros. to develop some strong partnerships, both theatrical and consumer products. There’s been many great opportunities in the ‘Summer of Barbie’ – from Barbie popcorn and consumer electronics to beautiful fashion collections.

What makes those particularly exciting?
For the film and the core programs, we’re talking to a broad audience, from kids to teenagers to adults of all ages. It’s been great to see these programmes develop over the past year and come to life over the last few months. We’ve created so many cultural moments for so many people, and it’s been amazing to see how much love there is for the brand.

“We put purpose at the very core of all we do…”

Yes. And to say love, and that Barbie is a phenomenon, is something of an understatement! But how many superlatives could I use?! Why is it so popular though, Jon? Why do you think it endures in the way that it does?
I have been truly blown away by the Barbie franchise. With nearly 65 years of heritage, Barbie is now more relevant than ever – the brand’s popularity is due in part to our continued purpose…

We put purpose at the very core of all we do, helping to inspire the next generation while driving diversity, inclusion and sustainability. On top of purpose, Barbie is a fun and positive brand. Barbie makes people smile, which has been lovely to witness during the film’s release.

I’m imagining – with the scale of this film being what it is – that pulling it all together took you on something of a journey. Tell us about it…
The Barbie movie was announced only four weeks into my role. That meant we had to move quickly to execute the programs… Without our retailers and licensing partners, none of this would’ve been possible, so we’re very thankful for the time they gave us to showcase Barbie. It’s very much been a fasten-your-seatbelts 2023!

I bet! It goes without saying that it’s a team project. Apart from you, who’s gone above and beyond the call of duty?
The entire Mattel organisation has pulled together in a very memorable way – from sales, to marketing, HR, Finance, PR, creative, and Warner Bros. – every division has gone above and beyond.

Let me ask you this, Jon… If you could wave a magic wand and have one thing happen as a result of all your efforts, but would it be?
I think the film will open many exciting and important new initiatives for Mattel to help inspire children and adults. We’re now firmly on our journey as a franchise-first company, with much more to come in the coming years.

What’s next for you? Long holiday?!
We are having a short moment of reflection, but we continue with planning 2024 – which will be another landmark year for Mattel. That includes Barbie’s 65th anniversary, some exciting – and top secret – news on Hot Wheels; the launch of Barney, new programs on Thomas & Friends and Fireman Sam… And, of course, the roll out of Monster High – it’s only the very beginning of our journey.

Terrific! To wrap things up, what’s the one question I could’ve asked you today but didn’t?
What’s the most important thing I’ve learnt over the past 18 months?

Oh, wow. Fantastic! And what’s the answer?
Teamwork. I’m very lucky to be involved in the very best team in the industry and it’s remarkable and humbling what you can achieve when you all work to the same ambitious goals.

Great answer to a great question. Thank you Jon. And do come back to tell us about Hot Wheels!

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