What started as just enjoying a show has become something much bigger. These fandoms are part of who I am now. They give me a shared language to connect with others, whether it’s bonding over quotes, laughing at the same episodes, or just knowing someone else gets it.

Professionally, in my role as a Researcher at Kids Industries, I’ve come to understand fandom through the lens of how children connect with brands, stay committed to them over the years, and even invest emotionally and financially. Whether it’s through playing games, buying merchandise, or decorating their spaces, kids become deeply engaged with the things they love.

In many ways, our research is driven by these fandom dynamics, as we try to understand why children are drawn to certain products or features. As researchers in the kids and family space, we strive to strike a balance through work that benefits both the brand and children’s development in the long term.

Can you tell us about a design trend you feel could have an impact on the UK licensing scene over the next 12 months?
One design trend I foresee having an impact on the UK licensing market is the growing integration of AI into creative workflows. According to a research study by designer Rob Boyett, a striking 78% of experienced designers – i.e., those with over a decade in the field – are now using AI as a creative assistant, reporting boosts in both creativity and productivity. This marks a clear shift from the past, when it was usually junior designers who led the way in adopting new tech. Interestingly, while experienced designers are more willing to accept AI, younger designers feel diminished by it, seeing it more as a creative competitor than as an assistant.

As AI becomes a standard tool, I expect it will soon be a routine part of creative budgets, enabling brands to deliver more personalised content at scale. Although challenges remain, these ongoing debates show that a major change is underway, one that will influence how licensed products are designed and marketed.

A great example of this is Animaj’s Motion-To-Motion Retransfer, an AI-powered tool that automatically adapts movements from human models to characters of any shape. By streamlining the animation process, it can cut production time by up to 60%, allowing designers to create a wider range of unique characters more efficiently.

Sticking with licensing, is there a licensed product you’ve seen this year that ‘stands out’ from the crowd?
One that really stood out to me this year is the NASA x Netflix partnership, which brings live NASA+ programming to all Netflix subscribers. Audiences can now stream real-time spacewalks, rocket launches, and International Space Station footage in HD, turning passive curiosity into active, immersive engagement. This also aligns with the KI Fandom Model as it allows families to physically immerse themselves in NASA’s missions, experiencing the nature, exploration, and discovery associated with space.

What makes it so impactful is how it merges science, education, and entertainment in a way that’s both accessible and exciting, especially for children. It has huge potential to inspire young minds and foster a deeper interest in space. I think it’s particularly valuable for neurodivergent children, like visual learners with autism or ADHD.

The vivid, real-time visuals offer a powerful alternative to text-heavy science content, making complex ideas easier to grasp and enjoy. It’s a brilliant example of how licensing can do more than sell – it can spark curiosity, deepen understanding, and open up new worlds for all kinds of learners.

Great pick. And speaking of learning, there is a lot of concern that children are reading less these days. Can you give us one suggestion for how we can encourage children to read more and get them more engaged with the ‘written word’?
One effective way to encourage children to read is by embracing edutainment, blending education with entertainment to make reading interactive and fun. For instance, Minecraft: Education Edition is used in classrooms worldwide to teach subjects like coding, teamwork and history through play.

We’re also seeing that children increasingly want to shape their own stories, seeing themselves in the narrative and making choices that affect the outcome. Games naturally offer this kind of engagement, while traditional books can feel less interactive. By connecting books and stories to popular games or TV shows, we can make reading feel like an adventure, inspiring kids to dive into new worlds through the written word.

This approach is especially beneficial for children who struggle with focus, such as those with ADHD or other special educational needs, as interactive and gamified learning can better sustain their attention. But it also meets the needs of all children growing up in a world dominated by fast-paced, visually stimulating content, making reading more accessible, engaging, and relevant to their everyday media habits.

Great answer. Huge thanks Hemanshi!

The post Hemanshi Mehta – Research Executive at Kids Industries – talks AI, fandom and how licensing can bolster learning appeared first on Brands Untapped.

At that time, fandom felt more like a lifestyle that I engaged with daily. Now, it’s more of an identity marker; for every hyperfixation, every TV show, film, or artist I’ve loved, it feels like adding a new sticker to a collection that maps who I am. Each ‘sticker’ has helped me understand a different dimension of myself: what I value, how I see myself, and where I find belonging.

Most importantly, though, the Directioner sticker has taught me that if you can get concert tickets – twice! – while One Direction are in their prime, you can truly achieve anything.

Ha! And professionally?
Professionally, I think fandom’s greatest power lies in its ability to elevate communities. Whether it’s lifelong or a fleeting hyperfixation, fandom gives people a token of belonging and identity. It creates opportunities to connect with people we may never ordinarily have met – online spaces particularly serve as vital ecosystems for fan communities to flourish and thrive.

I think a brand’s role should be to honour and uplift these communities by truly listening to their needs. Fan service has to be meaningful; not just a box ticking exercise. When done correctly, it doesn’t just deepen loyalty, but also strengthens the cultural fabric that makes these communities so powerful.

Brands have a real opportunity – and responsibility – to create more spaces for fan communities to thrive. That means showing up with intention and purpose; supporting what already exists as opposed to co-opting it for a big PR moment that feels inauthentic or disjointed.

Terrific answer. Now, with no restriction on country or market sector, can you flag up one design trend you have noticed that you think will have an impact on the UK licensing market over the next year?
I’ve noticed a wider embrace of ‘weirdness’. Kids would call this ‘brainrot’, which for those who don’t know, captures the world of chaotic and bizarre short-form content. Think Skibidi Toilet, Ballerina Cappuccina… And if you don’t know what those are, then enjoy the journey into the dark internet rabbit hole you’re about to enter!

I think it’s interesting how the absurdity that was historically reserved for meme accounts or YouTube compilations is now bleeding into mainstream design and comms. We’re seeing brainrot aesthetics pop up across Australian suncream, cereal, and even legacy institutions like the RSPB’s TikTok.

It’s also showing up in collectibles, seen in the rise of Labubu’s and more recently, Fugglers. I think this reflects a broader shift in culture driven by young people – the idea that absurdity and playfulness = authenticity and confidence. We’re seeing a lo-fi, unpolished aesthetic permeating more and more, from branding to packaging to product design.

For the UK licensing world, I think there’s an opportunity to lean even further into this appetite for irreverence. It’s an invitation to swap polished branding for stories that are weirder, more chaotic, and inherently human.

Can you share with us one licensed product you have seen this year that you think ‘stands out’ from the crowd?
I think Labubu’s are a real standout licensed product for being a masterclass in making scarcity scalable. Labubus are only available at Pop Mart and in very limited quantities, so there’s a constant and cyclical sense of urgency and desire surrounding the blind box items. I think what also really makes them stand out is how they’ve transcended traditional audience boundaries. They’re not just toys for children; they’re fashion accessories, collectables, luxury-adjacent fandom badges, and TikTok unboxing stars.

This cross-generational, cross-cultural appeal is no small feat, and it’s powered by a shared love of surprise, ‘cuteness’ (albeit subjective!), and playful self-expression. It’s a powerful blend of emotional connection, ownership, and identity play, all of which align closely with several facets of our KI Fandom Model, particularly the ideas around community, and badging.

As of May this year, Pop Mart was valued at $34 billion, which is more than Hasbro, Mattel, and Sanrio combined. A big part of their success lies in how they’ve built a decentralised fandom that feels more like a lifestyle club than a typical product fanbase. In today’s world, you know you’ve made it when even the dupes have their own name – enter the “Lafufus”.

Before we wrap up, I wanted to ask about concerns that children are reading less. Do you have any ideas for how we can encourage children to read more?
I think it’s largely about making reading feel accessible, and removing any stigma that comes with reading something ‘non-traditional’. We know that young people are struggling with their mental health from as young as eight years old. There are indications from our own research that children often lean towards activities and hobbies that make them feel more relaxed, rather than something that demands high energy or overstimulation. Reading can be a powerful mental health tool in these moments where children seek calmness, but only if it’s easy to access.

For reading to feel fun and inviting, we need to embrace a more diverse range of formats. Traditional prose and poetry that’s part of school curriculum reading can make reading feel daunting and intimidating for some – especially those with SEND or other learning difficulties. If we only frame reading through those formats, we risk making it feel exclusive or like a chore.

That’s why I think it’s so important to show children that reading things like manga, graphic novels, or listening to audiobooks is still valuable. These formats are often more accessible, particularly for children who don’t naturally gravitate toward traditional books.

Recent research shows the gender gap in reading enjoyment is the widest it’s been in years, with boys half as likely as girls to read for pleasure, according to the National Literacy Trust. Offering a broader range of formats can help bridge that gap, and act as a gateway into other types of literature over time. It’s not about replacing the formats we already value, it’s about lowering the barrier to entry. Ultimately, reading needs to feel like it’s for everyone, not just the bookworms.

Great answer. Thanks again Maya!

The post Maya Bharal – Junior Strategist at Kids Industries – on how fandom can elevate communities appeared first on Brands Untapped.

So, I feel a lot of my fandom comes from TV shows, films or books I enjoyed as a child, and those that I shared experiences I had with my parents and siblings. I will always reach for The Lion King as my comfort film, and I can quote The Parent Trap pretty much word for word. Maybe that is fandom to me.

Good answer! And professionally?
Professionally, I feel it’s about designing something that will fuel children’s current fandoms. Finding those niche elements of a brand that will spark joy as well as fostering new fandoms for the future. At KI we work with fandoms every day, it’s integral to the work we do. We use our KI Fandom Model to pick apart the elements that will make a brand’s fandom stronger. And through all of this, I’ve discovered all sorts of niche fandoms that I’d never heard of before.

How anyone can become an obsessive fan of a mermaid X unicorn that goes on adventures in the ocean – so much so that they want to collect all the toys – beats me. But I guess that’s what makes fandom so special, it’s different for everyone, and we have a part to play in helping to develop them.

With no restriction on country or market sector, can you flag up one design trend you have noticed that you think will have an impact on the UK licensing market over the next 12 months?
Something which has come up a few times recently is the backlash against the use of AI and a digital overload. Polaroid’s latest campaign – The Camera for Analogue – really taps into this with messaging like: ‘No one on their deathbed ever said: I wish I’d spent more time on my phone’, or ‘Real stories. Not stories & reels.’

And it’s not just in their messaging that brands are doing this. With the rise of AI ‘perfection’, I’ve noticed brands are retreating back to more traditional-looking designs, with a hand-drawn feel to their illustrations and messy typography. This is of particular note in both the beauty and food industries, with brands like Dyptyque and Fishwives as stand out examples. As AI and its use continues to progress, I can only see these sorts of designs emerging even more.

Can you share with us one licensed product you have seen this year that you think ‘stands out’ from the crowd?
A licensed product that has really stood out to me over the last few months is the splendiferous Clarks X Roald Dahl collaboration. They have recently launched several sets of children’s shoes, inspired by Roald Dahl’s stories, and featuring Quentin Blake’s beautiful illustrations.

Designed to ‘inspire kids to believe in themselves, unleash their creativity and walk in their own wondrous way!’ This stood out not only because I love the stories – and would love Clarks to make an adult pair! – but because they feel pretty special. In a world full of products that often feel like a repeat of what came before, bringing back the designs to more traditional illustration felt refreshing. I loved those shoes where you could get a little plastic toy in the heel when I was little, but maybe now I can appreciate why my mum kind of hated them.

The collaboration also taps into that nostalgic feeling. Parents would have enjoyed Matilda, Charlie and the Chocolate Factory, James and the Giant Peach, growing up, and this is their chance to introduce them to their children – maybe for the first time – in a new and exciting way.

Speaking of books, I have observed recently that there is a lot of concern that children are reading less. Can you give us one suggestion for how we can encourage children to read more and get them more engaged with the ‘written word’?
Something which struck me when looking at the latest reports on children’s reading was the figures on the lack of confidence parents and teachers have in actually reading aloud with their children. We have seen how the power of shared reading experiences can foster emotional connection and boost both the adult’s and child’s wellbeing, and yet they’re often not given the tools on how to do this.

Book Trust’s latest Reading Rights report found that 21% of parents lack confidence in choosing books their child will enjoy. This needs to change. Giving children and the adults in their lives ideas on how to make reading a less daunting experience is crucial. This could be done with tech, gaming, and digital devices. There are plenty of new and fun ways of interacting with audiobooks, or I could suggest advertising reading in Roblox.

But if I’m honest, I think it’s the physical, tangible – more accessible – resources that can really make a difference. It could be as simple as preschools, local libraries or even larger corporations partnering with publishers to provide supplementary materials to engage the reader. McDonald’s now supply books as well as toys in their Happy Meals. Think finger puppets, board games, activity sheets. Something which gamifies the experience, making it enjoyable for all parties, without introducing a screen.

Good suggestions. Huge thanks Frankie.

The post Frankie Stevens – Designer at Kids Industries – on why brands are embracing ‘traditional-looking’ designs appeared first on Brands Untapped.

In a major UK and US study of 2,000 respondents, the agency also found that:

• Only 1% of parents say they’re always the one introducing new fandoms – in 89% of families, discovery is either shared or driven by kids
• Families who share fandoms are significantly more likely to buy merchandise, engage online and recommend brands to others

These “fandom families” are more engaged at every touchpoint. Compared to solo child fans, families who ‘co-fan’ are:

• 33% more likely to watch official shows and films
• 18% more likely to play with toys or physical games
• 16% more likely to wear branded apparel
• 5% more likely to attend live brand experiences

“When we think of fans, we often think of the superfan or ‘geek’,” said Gary Pope, CEO and co-founder of Kids Industries.
“But fandom is increasingly something that lives in the home, that’s shared between generations, and that families actively celebrate together. That makes them brand amplifiers – and brands need to take that seriously.”

To coincide with the new research, KI is repositioning itself as ‘The Family Fandom Agency’ – a move that ‘reflects both its heritage and the future of brand engagement’.

Pope added: “We’ve been the creators of fans for over 20 years – today we’re formalising it. By formally putting Fandom at the very heart of everything we do, we’re reframing the full-stack offer we’ve always delivered – Insight, Strategy and Creative – for the new commercial landscape. Our simple mission is to deliver life-fulfilling experiences for fans of all ages everywhere.”

Jelena Stosic, Strategy Director at KI, said: “Fandom is often seen as deeply emotional – and it is. But it’s also something you can shape and nurture. With the right insight, brands can design for it in ways that are meaningful, not mechanical. That’s what our work enables.”

To support this evolution, KI is launching new fandom-focused services including:

• Bespoke family fandom workshops and training
• Tailored research studies to help brands measure and grow their fan base
• Client-specific presentations of this year’s Fandom Study
• A free download of its proprietary KI Fandom Model

“Fandom isn’t just emotional anymore – it’s expressive, social and powerful,” said Pope. “When families become real, life-long fans, they tell your story for you – what could be better than that?”

The post Kids Industries study reveals 75% of families share fandoms appeared first on Brands Untapped.

At the heart of the ‘KI Fandom Model’ lies an understanding of what constitutes a ‘real fan’ and how brands can effectively leverage fandom to drive growth.

The new offerings will enable KI to provide a range of tailor-made solutions to meet the diverse needs of brand teams. These services includes training to provide marketing and brand teams with a comprehensive understanding of the KI Fandom Model.

Another offering is a full-day workshop that immerses participants in the intricacies of the KI Fandom Model. Marketing, brand, product development and social media teams will learn how to apply the model to their specific contexts.

Finally, KI’s root and branch projects sees teams collaborate with KI to create fandom strategies grounded in business realities.

“Fans are no longer just consumers; they are the lifeblood of a brand,” said Gary Pope, CEO at KI.

“They embody complexity and value like no other audience. That’s why we’ve developed the KI Fandom Model, a sophisticated framework that enables brands to get closer to the fans, creating true connection with a franchise and building lasting relationships, loyalty and new revenue streams. And, perhaps most importantly, applying the principles of The Fandom Model can also improve discoverability.

“We’re committed to driving innovation and empowering brands across a range of sectors including FMCG, entertainment, gaming, preschool, lifestyle and sports, to forge meaningful connections with their audience. For brands seeking to unravel the mysteries of fandom and unlock unprecedented growth opportunities, this promises to be a game-changer.”

The post Kids Industries launches suite of services aimed at helping brands “unravel the mysteries of fandom” appeared first on Brands Untapped.

The study reveals that 41% of children want to be more creative, play and have fun with their favourite brands. 22% were looking to create fan art about their brand, 19% want to more actively engage with fandom communities and 19% are hoping to shape the trajectory of the brands they love.

“Our latest study paints a clear picture – the number of children considering themselves a fan of something is increasing,” said Jelena Stosic, Strategy Director at KI.

“76% of children worldwide – rising to 90% in India – now consider themselves fans of something, highlighting the immense potential for brands to harness this passion. Compare that to our Global Study figures a year ago – though aged 6 to 13 rather than 6 to 14 in this study – and we can see there’s been a 13% increase. The issue, however, is the overflowing landscape of content. Young people are bombarded with choices, making it harder than ever for brands to capture their attention and hearts.

“While children have access to more content than ever before (with the study finding 61% of parents even praising its quality), 70% also struggle with information overload, making it crucial for brands to stand out. Furthermore, 43% of parents say that their child finds it hard to focus and 34% went on to say that their child almost never watches a full episode from start to finish. So, what can brands do to cut through the noise? The answer lies in creating genuine human connections, being more open to co-creations and fan influence and generating immersive and social experiences. After all, our study found that 98% of children’s fandoms involve people, often seen as cool, happy, friendly, inspiring and brave.”

Looking ahead, the study found that 31% of children hope to experience their fandoms in new ways. 29% would like opportunities to deepen their knowledge and connect with others and sharing with family and friends will be a significant driver of engagement.

Stosic concluded: “The attention scarcity we experience today is changing the way fandoms are built. To build and harness the strongest fandoms, brands need to focus on key opportunities that give higher emotions, attention and, therefore, build memories, too: being more personal, more open, more immersive and social.

“Fandom unites across generations, and by understanding the core emotional drivers, brands can unlock powerful opportunities to connect with young audiences in meaningful ways. Developing fans doesn’t come without its challenges – it’s a complex topic – but together with our service – The Fandom Model – and accompanying insights, we can help brands to activate a number of levers and better engage their audiences.”

The post 76% of children consider themselves ‘fans’ of something, reveals KI study appeared first on Brands Untapped.

The culmination of the project sees Character.com repositioning itself to promote self-expression and emotion, highlighting its range of character-based clothing and apparel with a collection of new assets.

The work coincides with the launch of its first ever store at McArthurGlen Designer Outlet in Bridgend.

“With over 200 characters to choose from – from Disney to Bluey to Barbie – Character.com’s range of affordable clothing and apparel appeals to children of all ages and the kidults amongst us, too,” said Raj Pathmanathan, Creative Director at KI.

“What all of these characters have in common, is the ability to make their fans smile, and the same goes for the Character.com apparel that features them. It’s a simple but incredibly powerful message and we built the new brand concept around it, bringing it up to date and in tune with children, families and fandom customer base.

“A smile forms the basis of the brand world, threading it throughout the assets and bringing it to life in the logo through the logotype. It has been carried through the mark also, and the brand mascot aptly named Miles since he’s always full of smiles, conveying added emotion and uplifting expression through various poses. A smile after all, is the purest form of expression we have. It has the power to make someone’s day better, whether it’s your own or someone else’s – a great fit for the brand wanting to tap into emotional purchasing.”

Darren Morris, Chief Marketing Officer at Character.com, added: “We’re on a mission to empower our customers to look and feel their best every day by selling happy clothes.

“By featuring their favourite characters and brands, we’re putting smiles on faces, enabling them to express their passions and help them take on the day with confidence and energy. After briefing the team at KI on our business and what we wanted to convey, we were delighted to see the insight-led smile concept brought front and centre in our new brand identity.

“With a broad customer base, our messaging needs to adapt slightly depending on who we’re talking to. Whether it’s Grandparents, Godparents, Aunties or Uncles, our language needs to be kept simple and playful and KI really got to grips with that. Their insight-led approach to understanding our audience was impressive and we’re delighted with the outcome – which we’re rolling out across our estate – including our first ever store.”

The post Kids Industries completes rebrand for Character.com appeared first on Brands Untapped.

A collaboration between Wild in Art, Aardman, Kids Industries and Whizz-Kidz, the public art trail features 56 life-sized Morphs located at some of London’s most iconic landmarks.

As creative partner, KI has been collaborating with Whizz-Kidz to design and produce materials including a trail app, website, map, guidebook and dedicated social media channels for the trail.

Once the trail has closed, each of the bespoke Morph sculptures will be auctioned with the aim of raising £500,000 for Whizz-Kidz. The money will enable Whizz-Kidz to provide life-changing wheelchairs and confidence-building opportunities for young wheelchair users in the capital and across the UK.

“We are totally thrilled to be working with the excellent charity Whizz-Kidz on London’s first step-free art trail,” said Peter Lord, the co-founder of Aardman and creator of Morph.

“I’m sure that local residents and visitors to London – young and old – will also be inspired to get creative and join Morph for an Epic Art Adventure.”

Sarah Pugh, chief executive of Whizz-Kidz, added: “The awareness and money raised will have a huge legacy for young wheelchair users we support for years to come

Gary Pope, CEO and Co-Founder at Ki, continued: “We are super excited to support the important work Whizz-Kidz does as the official Creative Partner on such an important project – giving our time and resources to make this a huge success!

“The work that Whizz-Kidz does is incredible. Morph is incredible. London is incredible. Mashing the three together is pure genius – of course we wanted to be involved! After a year of work on this project, it’s thrilling to see the trail come to life and see first-hand how more children are able experience the epic-ness of London through a truly accessible adventure.”

The post Morph’s Epic Art Adventure lands across London appeared first on Brands Untapped.

The session will look at how a better understanding of insights – including where to find them and how to apply them – can lead designers and inventors to stronger, more saleable concepts.

“We’ll look at children and need states and we’ll share some thinking tools, tips, tricks and techniques you can use right away,” said Gary.

This year’s Play Creators Conference takes place at London’s Stamford Bridge stadium on Wednesday, June 28th.

For more information, head to: https://playcreatorsconference.co.uk or to buy your ticket, click here: https://playcreatorsconference.co.uk/product/play-creators-conference-ticket/.

The post Kids Industries’ Gary Pope to discuss ‘Why Insight Matters in Toy Design’ at Play Creators Conference 2023 appeared first on Brands Untapped.

The Global Family Study – carried out across 5,000 families across 10 countries, spanning six continents – found that toy influencers are viewed as more important than friends and relatives in decision-making for this category (18% versus 15%).

Over a third (34%) of UK children aged four to 13 use social media and 46% of this group play Roblox.

Elsewhere, the study found that UK children today are goal driven, with 8% aspiring to fame and 21% wanting to change the world for the better. This rises to 36% amongst kids from Nigeria.

Being happy is a goal for 50% of UK children, with a well-paid job coming in second place at 47% and having a good education ranking third with 32%.

“Children’s love for a brand is dictated by their age and developmental stages and whilst the influence of parents on children’s decision making is clear, increased access to digital products and services means that children today have increased control over their decision making. Kids have a new found independence,” said Raj Pathmanathan, Creative Director at KI.

The study also found that UK parents are the most stressed in the world, spending 2% of time more stressed consistently versus the rest of world. Confidence in their ability to parent is highest in Brazil where 81% feel they’re good at it, compared with 47% in the UK and 28% in South Korea.

Jelena Stosic, Strategy Director at KI, added: “The multiple challenges parents face are giving rise to stress and exhaustion.

“This is a concern because the increased demands create a pressurised environment for all family members, making balance more difficult. From the children’s perspective, this compounds school pressures, and goes to show why all of us – including children and parents – are craving relaxation/ease, support and community, which are currently inspiring policy makers, lobby groups and product development teams.”

The post Kids Industries’ Global Family Study finds 24% of UK kids discover new brands and products through influencers appeared first on Brands Untapped.