David Born,

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

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Acquisition. There’s been a lot of consolidation in entertainment over the last ten years… And that’s resulted in major licensors having to prioritise key properties across their growing IP portfolios. This has then led to some great IP being neglected.

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James Hinton,
Head of Creative and Marketing,
STUDIOCANAL Kids & Family

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Celebrations for the incredible creative talent within the licensing industry… From agencies through to product developers and designers at licensees. They’re the backbone of what we do. Some of these individuals aren’t naturally inclined to shout about their work, so I think it’s on industry leaders to call out these talents.

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Reliance on formulaic design directions. For instance, blue for boys and pink for girls. We know why we sometimes fall back on these creative tropes, but any time we can push the boundaries of creative conventions we should try.

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Katie Huber,
Senior Director of Licensing,
Fred Rogers Productions

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Unexpected collaborations and out-of-the-box thinking in how brands approach inbound and outbound licensing. A unique union of two unlikely brands coming together creates industry buzz and generates consumer demand. It allows the general populace to engage with products, characters or companies that weren’t previously in their line of sight. I’m excited by the prospect of the industry delivering more of the unexpected.

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Of the standard formula approach to licensing. Like most industries, licensing operates with a particular ‘playbook for success’ that could benefit from some disruption and a new way of working. Operating outside of the rulebook can pave the way for innovation and large-scale success across the industry, especially for brands with small but faithful followers. I’d like the industry to rely less on how things have been done historically and instead imagine and operate with a fresh approach to broker deals and measure success.

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Ian Downes,
MD,
Start Licensing

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Commitment to ‘authentic licensing’, creating products, promotions and partnerships that are firmly anchored in the DNA of the licensed brand – with a commitment to providing a good experience for consumers. I think this approach resonates well with fans and adds value. Dare I say it’s authentic?!

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Hype – and more substance. The licensing industry should take a more serious and mature approach to the sharing of data, insights and qualitative information. Hype gets you so far, but we need to ensure we’re an industry that’s credible and compares well to other marketing disciplines.

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Anthony Marks,
Founder & MD,
Fanattik

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Openness. Exhibitors should have one member of their team open to walk ons. One year, I saw a medium-sized stand with no visitors, just staff waiting for appointments. I asked the front desk if I could speak to someone and was told it was appointment only. I explained I’d flown over so if someone could spare five minutes I’d appreciate it – but was told no. I know how crazy schedules can be, but having a junior member of the team there to filter through the walk ons is a good idea.

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Inflexibility please! Retail is changing fast – and fans want more unique products. It’s taking a little time for some retailers and licensors to understand that creating these unique pieces – which are going to be shouted about on social media – will take longer to get over the line than traditional product. Two-year licenses should be a thing of the past… Three-year minimums should be the way forward.

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Lana Zoppi,
Design Director,
Studio Noel

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IP crossovers/collaborations with pop-culture outside of entertainment – musical artists, restaurants, grocery store food brands, sports, web/social media platforms, etc. The world has expanded, and the fight for attention has increased significantly. By partnering with outside-of-the-norm brands, we can increase visibility and reach fans that we may otherwise would not have.

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Well, it’s not exactly something I’d like to see less of, but more something I’d like to see action on. Overall, I’d like to see all levels of the industry work together to find collaborative solutions to the tariff issue. Rather than waiting for the shoe to drop.

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Mandy Bardisbanian,
EVP of Licensing & Retail,
Striker Entertainment

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IP crossovers/collaborations with pop-culture outside of entertainment – musical artists, restaurants, grocery store food brands, sports, web/social media platforms, etc. The world has expanded, and the fight for attention has increased significantly. By partnering with outside-of-the-norm brands, we can increase visibility and reach fans that we may otherwise would not have.

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Well, it’s not exactly something I’d like to see less of, but more something I’d like to see action on. Overall, I’d like to see all levels of the industry work together to find collaborative solutions to the tariff issue. Rather than waiting for the shoe to drop.

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James Oddy,
Co-Founder,
Vize Creative

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Sustainable fashion. Licensing agreements focusing on eco-friendly materials and ethical production processes are gaining traction, aligning with the global push towards sustainability. Today’s consumers, especially Gen Z and Millennials, care about how and where their clothes are made.

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Well, I like to approach things from a positive angle, but I do think there’s a real disconnect when celebrity-driven licensing lacks authenticity. Licensing should prioritise authentic collaborations where celebrities and influencers genuinely contribute to the creative process and are underpinned by the same DNA.

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Stephanie Griggs,
Founder & Creative Director,
Studio Griggs

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Acknowledgment and action around the climate crisis. Organisations like Products Of Change are doing an incredible job at enabling positive progress in the industry, but we could all do more. And what once felt like a moral responsibility or niche concern is fast becoming a commercial imperative. But it’s not all doom and gloom – this is an exciting opportunity for creative thinking! By collectively pooling ideas, sharing solutions and investing in innovative solutions for materials and manufacturing, we have the power to drive change.

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Emphasis on the end result of a new product alone, and more insight into the process and ideas that got it there. A launch is always a celebration, but increasingly both B2B and B2C audiences are craving a peek behind the curtain and to be taken on the journey from spark of idea to fruition. As the Chuckle Brothers wisely said, ‘To Me… To You’. It’s a proper relay getting something out in the world… So, let’s celebrate the beauty of the process, and at the same time inspire a new generation by showcasing the breadth of collaboration.

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Barry Darnell,
CEO,
Analogue

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Fun and joy. More remembering that we get to work on the brands that shaped our childhood – and the ones that will shape someone else’s. Let’s play a little more in 2025. Be bolder. Push boundaries and value true partnerships, the best work doesn’t come from briefs alone – it comes from conversation, trust and collaboration.

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Content for content’s sake. Less leaning into nostalgia, it isn’t infinite – handle it with care. Less worrying about AI taking over the world. Less last-minute briefs. Less creative layoffs.

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Andrew Levy,
Founder,
Ateliers Verts

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Collaborations with other marketing disciplines. Licensing is just one element of the marketing mix. This could expand the usage of licensing into different sectors allowing for more creative exploitation.

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Of a homogeneous marketplace of the industry’s usual players… Be they licensors, licensees or associations – from a UK perspective. The industry needs a mechanism which focuses on addressing the needs of UK companies and people, to foster inclusion for new entrants and upcoming businesses.

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Ari Freedman,
VP of Licensing,
Surge Brands

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Innovation. Licensing should be about pushing creative boundaries while staying true to a brand’s heritage. We want to see more strategic brand extensions that truly enhance a brand’s identity, rather than just replicate existing products with a new logo. One of the most exciting areas for growth for us is the food and beverage sector, which continues to be a high-demand category. There’s enormous potential for partnerships that blend nostalgia with modern culinary trends, and we’re focused on tapping into that.

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Fragmentation and confusion in the marketplace. Too often, we see brands divided among multiple licensees in overlapping categories. This dilutes their impact. A more strategic and cohesive licensing approach strengthens brand equity and ensures products resonate with audiences, rather than getting lost in the crowd.

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Dan Janssen,
Creative Director,
Lincoln Design Co

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Brand activations and in-person interactive activations that bring IP to life for the consumer. Similar to what Netflix did for Sakamoto Days.

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Collaboration that doesn’t make sense! Brands need to have a story or history behind a collaboration, not just be collaborating to make money or for no reason.

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Heather Laing-Obstbaum,
SVP Global Creative & Product Development,
Warner Bros. Discovery Global Consumer Products

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Amazing food and beverage partnerships to surprise devoted fans! It’s an incredibly exciting category with huge potential to get creative. We recently launched new Harry Potter products inspired by Butterbeer Season. It’s been incredible to bring this iconic flavour to life through cookies, popcorn, and many other fun treats.

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Of the challenges and blockers we all have to deal with at some point during a project – because I always want to see more of the exciting things our incredible industry is capable of!

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Diane Bolduc,
Director, Licensed Consumer Products,
Global Toy & Game, Hasbro

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than ever, it’s important to stay true to the brands we represent. Our focus should remain on creating products that are grounded in each brand’s unique identity, deliver core play value and celebrate the joy of play for kids and adults alike. By staying anchored in this purpose, we ensure our brands continue to resonate with consumers and provide a sense of stability, connection, and fun – even during uncertain times.

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Of a broad approach, and more of a thoughtful approach when considering which brands to license. Not every brand or IP is a natural fit for every product. When we try to apply IPs too broadly, we risk falling into a trap of “creative art slapping,” which ultimately dilutes both the brand and the product. Today’s audiences aren’t just looking for familiar characters on existing formats; they’re expecting innovation, authentic storytelling, and unique play value. Simply adding licensed art to drive sales isn’t enough anymore.

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Justin Watson,
MD,
Asembl

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Retailers introduced to the power of licensing – particularly how culturally relevant brands and IP can drive foot traffic, attract new audiences, grow category and elevate in-store experiences. I’d also like to see greater emphasis on data-led decision-making across the industry. The future of licensing is smarter, faster and more collaborative – and data is the enabler.

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Replication. The industry too often repeats what’s worked before – same categories, same creative, same rollouts – but consumers, especially Gen Alpha and Z, are demanding more. It’s time we treat licensed collaborations as cultural moments, not just transactions. That means rethinking what licensing can be, and backing ideas that create impact well beyond the shelf.

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Felipe Noriega,
VP,
YuMe Toys

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Speed! We’d like to see faster product approvals from licensors so we can better meet the needs of both retailers and fans.

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Counterfeits. Licensed partners invest heavily in royalties and this needs to be protected. We’d like licensors to take more effective, consistent action to tackle counterfeiting.

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Danny Heffer,
Freelance Creative

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Comedy and nostalgia! It’s going to be a tough year and licensing’s job in these kinds of situations is to provide an escape – a safe, warm, happy place that gives a bit of respite.

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Reliance on the big mouse from retail. I’d love to see them invest into more diverse IPs. One trend I’ve noticed recently is a lean into ‘inspiring figures’, mainly in art licensing. But there’s a world of cool inspiration and iconography to be mined.

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Sissel Henno,
Head of Global Sales,
Licensing & Retail, STUDIOCANAL Kids & Family

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Innovation in product design and functionality. I love the work that some of our partners have been doing around sustainable solutions. Not just the materials they use, but also how the product shape impacts how it can be stacked and shipped to save on space, carbon footprint and cost.

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Of a fixed mindset. Opportunities are missed when we’re not attuned to changes in consumer behaviour and shifting priorities. Those companies willing to take risks and continually adapt will reap benefits in the form of boosted brand engagement and sales.

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Adam Bass,
MD, Golden
Goose

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Collabs between unexpected brands.

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High-margin premiumisation without adding any real product value.

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Sophie Bloomfield,
Creative Director & CEO,
Sophie Bloomfield Consultancy

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Emphasis on sustainability through services. For instance, brands could follow the Nudie Jeans example of offering a repair service. Imagine a denim collaboration where the licensed product not only features the partner brand but also promotes this sustainable service. Licensing could explore dedicated services or experiences that engage consumers directly. For example, a ‘fix your own clothes’ workshop featuring a popular character. These initiatives would add real value, blending entertainment with practical life skills.

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Character slapping. This is when a generic product, unrelated to a brand’s story or values, is simply stamped with a popular character to drive sales. These products often end up in clearance bins or charity shops, feeling wasteful and unsustainable. The industry would benefit from focusing more on thoughtful collaborations that align with meaningful narratives and consumer interests.

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Sue Perez-Jackson,
Senior Director, Licensed Consumer Products, Merchandise, North America,
Hasbro

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Branded retail experiences. While e-commerce growth and increasing .com penetration are essential, physical retail has significant untapped potential. The opportunity lies in cross-category programs that offer a seamless, one-stop-shop experience. A great example is the Target Poppi collection. It wasn’t just about selling a product; it was about creating a distinctive in-store experience that piqued curiosity.

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Of the industry putting all of its eggs in one basket and overlooking the potential of other brands or concepts. Too often, there’s a tendency to double down on what’s already been proven, which can stifle innovation. Testing and learning should be a bigger part of the strategy. The willingness to experiment creates room for growth and diversification, which pushes the whole industry forward.

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Stuart Hunt,
Marketing Director,
Major Look

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Opportunities for people to directly engage with the brands they love, creating ways for them to share ideas and influence licensing directions. LEGO Ideas is an example of how this can be done brilliantly – allowing fans to upload their own model designs for others to vote on, with the most popular often becoming official sets. Building positive communities that nurture play, imagination and creativity would be hugely beneficial.

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Short-term thinking and more long-term partnerships that prioritise storytelling and build on a brand’s heritage. Developing licensed products that feel like a natural extension of the brand – personal, authentic, and collectable – is always more exciting for fans.

The post More or Less… appeared first on Brands Untapped.

Lana Zoppi, Design Director, Studio Noel: Yes, putting our work in branding, strategy and then licensed products together felt very natural – and exciting!

What was the first project to take you into licensing?
Michelle: We worked on a project a long time ago now on a series of books – and some of them were licensed. That was our first introduction to licensing. Then off the back of that, we started working with the Natural History Museum about two years ago.

Before we dive into that, for anyone that hasn’t worked with your creative agency, how would you describe the services you focus on?
Michelle: We do a lot of work for brands and style guides and trend guides – we particularly love doing those. As part of that, we create suites of assets and have specialists in illustration.

Lana: Having skills in branding and illustration, we know how to create assets that can be used in lots of different ways – which is great, because guides need to be adaptable today. Whether that’s adaptable to different seasons or trends… You don’t want to limit their potential.

Michelle: An important part to that is asking clients about their overall objectives and what they want the creative to achieve commercially. That might be to target a specific licensee or retailer… Either way, that commercial goal shapes the creative; it’s a springboard for creativity to come to life.

You mentioned working with the Natural History Museum brand. Do you have a focus in terms of the sorts of IP you create for?
Lana: It’s fairly broad. There are areas we have more experience with, but our strategic approach can be applied to a lot of different areas.

Michelle: Absolutely. We’ve worked with some great brands in the cultural and heritage sector, but there’s a lot to learn and take from other areas that can inform work across a wide range of different brands.

Does it matter for you to be a fan of the brands you’re creating for?
Lana: It’s a delicate balance. If you love a brand, it could mean you’re actually too close it, so you may not want to embrace opportunities to change and evolve it into something new… But at the same time, if you come in completely blind, you’ll miss those nuances that really resonate with the fans. We always make sure that we know all of the lore around a brand if it is new to us.

“You want to ensure you pick up on all the nuances of a brief.”

Michelle: It’s so important to live and breathe the brands we work with. It’s a key part of the process, especially at the start of the project.

Let’s dive into some recent work. Talk me through what you did for the Natural History Museum.
Lana: We did a trend guide called Memory Lane for the Natural History Museum last year. It was a pairing of the Natural History Museum with a lovely, chic, sort of nonchalant illustration style. It was nerdy, quirky and creative – which aligned well with the fanbase.

Speaking of trend guides, how to do approach bringing brands and trends together?
Lana: Once you’ve identified the trend and how it’s manifesting, it’s good to step back and look at why it’s happening. Why are people drawn to it? And how can the brand tap into that, instead of just the surface level trend. There’s always things happening on a deeper level that are interesting and offer great opportunities for brands.

Terrific answer. And what makes for successful collaborations between creative agencies and brand owners?
Michelle: It’s important for us to listen to the brand owner. They know their brand incredibly well, they know their licensing program well and they know what works and what doesn’t. We need to find out and understand challenges they’ve had in the past – as well as successes – so that we can learn from those… It’s important for the collaboration to be open and transparent…

Lana: You want to establish a relationship where you can be comfortable being a bit ‘out there’ with creative sometimes because we can also bring things back to a more comfortable place.

Michelle: That speaks to how iterative the process is. We’re not a studio that just gets a brief and goes away. We want a collaborative relationship where we can really understand your objectives and how we can help you achieve them.

And what makes a good brief?
Michelle: I’d say jumping on a call first! You want to ensure you pick up on all the nuances of a brief. Sometimes you’re trying to dig into what the actual problem is – and it’s not always what’s written in the brief to us. It feeds into this being a true collaboration – openly discussing briefs and working out with clients what they want… Sometimes before it’s outlined in a proposal.

Last question! What fuels creativity for you guys?
Lana: For me, going out and seeing stuff… Art, design… Reading all the time too. I read a lot about other creative minds, people and their lives and what inspired them. Sometimes it’s not directly relevant to what we do – it might be about an engineer or a woodworker – but there’ll be ideas in there that inspire all sorts of other ideas. The more you absorb, the more connections you can make – and interesting connections rather than the same sort of thing.

The post Studio Noel’s Michelle Noel and Lana Zoppi on strategy, style guides and successful collaborations appeared first on Brands Untapped.

Scott Ham, Co-founder & Creative Director, The Zeros
Nostalgia plays a big role. Adults who loved the original series and toys are drawn to high-end collectibles, while new generations of kids love the action-packed movies and toys. The brand keeps evolving, collaborating with new partners and reinventing itself – all while keeping the main characters and lore intact. Its universal themes and multi-generational appeal have made it super resilient and globally loved.

Oliver Dyer, Founder, Skew
Skew has been fortunate enough to work a number of TRANSFORMERS projects over the years. For us, the popularity of the brand is rooted in play. The play pattern of TRANSFORMERS is fundamental to its success, and there are layers of play inherent in every character. You can battle, it’s aspirational so you can role-play characters and there’s an ecosystem that makes for collectability. The more complex variants could even be considered to have a puzzle element. Layered over that you had a cool new aesthetic that’s sophisticated but simple enough to doodle on a school book and be instantly recognisable. From a brand perspective, start with a name perfectly describing the IP’s DNA – all the way to good vs evil icons of the key protagonists – and you’ve got an irresistible package.

Adam Colp, Director, Vize Creative
TRANSFORMERS is one of our favourite brands that we’ve had the privilege to work on. I still remember the excitement of opening a gift for Christmas – this must have been in 1987 or 88… A Transformers Decepticon Scorponok action figure. A badass giant robot that transformed into a massive mechanical scorpion. I still have it to this day on my shelf in my office!

And that’s exactly what the brand is all about. In the Eighties, we all had posters of Lamborghinis, Ferraris and other cool cars on our walls. We watched cheesy action movies – often underage – with robots and guys blowing things up. So, when an animated series came out featuring classic and futuristic cars, planes and vehicles that turned into epic, giant robots locked in a timeless war – we were hooked! The storylines took it even further when, in the 1986 movie, Hasbro was bold enough to kill off Optimus Prime – sorry for the spoiler! I remember my jaw dropping when that happened. It was all so captivating, and we loved the larger-than-life villains too. Megatron, an evil robot who turned into a gun or a tank, was superb!

“It’s truly a generational brand.”

What made TRANSFORMERS so great was that, although it started as a Marvel comic, its true destiny lay in becoming a toy line. The execution of the transformations – from vehicle to robot – was so well done, and that perfection is what’s kept the toy line going for so long. As you can see, I’m mega passionate about TRANSFORMERS, and that’s where the nostalgia kicks in. The collectability will always be there; multi-coloured, Japanese-inspired robots are timeless, especially for boys.

As fans of the series, Vize have had so much fun working alongside the Hasbro teams. We’ve developed a wide range of creative from style guides, character art, product lines and retail executions. One of our all-time hero guides is the Noir Ink guide we did… It was full of storytelling comic art with bold characters on a limited colour palette – perfect for fans and retailers! And it’s not just the OG characters we love – the newly reimagined ones are just as awesome!

With evolving CGI, the recent movie franchises were inevitable. Seeing these robots come to life, battling and fighting on the big screen, has brought the brand to younger audiences. Kids will always love action movies, and with TRANSFORMERS, their parents will happily take them to see it! It’s no surprise that, 40 years later, the brand is still going strong. The fact that these robots transform into everyday vehicles and machines is what will keep them around forever.

Ian Downes, Director, Start Licensing
Some 30 years ago I worked on a TRANSFORMERS comic with the publisher Fleetway, who was absorbed into Egmont at some point. The comic was a new launch and Fleetway decided they wanted to do something different, with an eye on making an impact at retail and to galvanise fans. They invested in a gatefold cover for the first issue, so the comic literally transformed as you opened it. They embraced the DNA of the brand and recognised that this was a large part of its appeal to consumers.

“Nostalgia plays a big role.”

It’s a great example of a licensee realising that one of the values in licensing is taking a bespoke approach to product development. Make products that are on brand. TRANSFORMERS has a rich story arc and is full of creative possibilities. Hasbro and their partners have made the most of its creative potential by, in part, being tuned into it. Fleetway were encouraged to be creative and re-write the playbook. I am sure this attitude still operates with TRANSFORMERS and has been a key factor in its success.

Alex Churton, Creative Director, Windle
For me, TRANSFORMERS were the best toys… I really liked Action Man, I really liked Action Force, I really liked He-Man, I really liked M.A.S.K, I really liked Teenage Mutant Ninja Turtles – but absolutely loved TRANSFORMERS! They were probably the only toys to rival my love of everything Star Wars! It’s probably the perfect storm for a toy brand – cool robots, cool vehicles, a cool cartoon, cool backstories and so on! As a young child and toy fan, what isn’t there to like about a laser blaster firing, laser sword swinging, robot, dinosaur!?

There is something so strong about the G1 side of Transformers that has spanned decades of my life… So much so that when the new movies came out, although I enjoyed them, I felt as though something was missing. I was delighted to see them go back to taking more of a nod to the original set up with Bumblebee, Rise of the Beasts and now with the new TRANSFORMERS ONE.

We at Windle have been lucky enough to have been working on some TRANSFORMERS designs for Hasbro recently, and as a lifelong fan and closet TRANSFORMERS nerd, this is life at its best! I am now the proud father of a seven-year-old TRANSFORMERS fan and get to live it all again through his eyes… I love them and my son loves them… Although I didn’t love my son when he broke my original Jetfire toy, but we’ll move on from that… One day… Eventually… And below is a picture of a young me with TRANSFORMERS toys Topspin, Sludge and Kickback… Please ignore my hair, teeth, garms and choice of garden furniture!

Stephanie Griggs, Founder & Creative Director, Studio Griggs
I’ll be the first to admit that I wasn’t into TRANSFORMERS as a child. But as an adult, seeing my five-year-old son playing with his Bumblebee and Optimus Prime toys, I gained a new-found appreciation of the play pattern that was so clearly capturing his imagination.

Thinking about the secret sauce to its 40-year popularity, the franchise’s toy-first origin is an impressive success story and, I think, testament to using a can-do, collaborative approach to building an IP. Hasbro took the hugely popular TRANSFORMERS toys by Takara Tomy to Marvel, who created a narrative universe, backstory and character names, publishing the first official TRANSFORMERS comic book in 1984. This was the perfect way to solidify the characters in pop culture, while providing a springboard to a cross-media licensing strategy that’s stood the test of time.

“The play pattern of TRANSFORMERS is fundamental to its success.”

Hasbro continues to nurture two important pillars brilliantly – maintaining the brand’s global appeal through broad, accessible themes, and artfully flexing the creative and stylistic approach of its content to suit an evolving audience.

Robert Bedford, Creative Director, Juiced
TRANSFORMERS has managed to extend across multiple sectors because it’s truly a generational brand. The brand captured the hearts of kids in the Eighties – slightly before my time! – and has continued to reinvent itself for each new generation. I was actually a huge fan of the Beast Wars era of Transformers in the Nineties. Big robots will always be cool, and now that TRANSFORMERS is a legacy brand, not only does the ‘big robots’ appeal still resonate with kids, but previous generations get a great nostalgia kick out of it too. When I saw the new classic-style Beast Wars toys on the market, it took me right back to smashing these transforming dinosaur toys together. I still think the brand is awesome because, honestly, big robots fighting will always rule!

Lana Zoppi, Design Director, Studio Noel
TRANSFORMERS was a brand created for merchandise, with brand licensing almost baked into its DNA. It was created to work as action figures as well as in a narrative format with the comics and the movies. It’s similar to Pokémon in that way; starting as a card game that had all the elements of a bigger universe to narrativised. It’s a brand made for showcasing jaw dropping special effects and so its popularity is similar to that of Marvel – you don’t need to create the most interesting storylines because it’s all about impressive action. It’s accessible fun and escapism. Something we all enjoy.

If you think about that 40-year mark, it’s an interesting time for a toy brand. You will have kids today still playing with you if you’re able to remain relevant to them, as well as the adults who are now nostalgic for the toys of their youth. As a brand it can tap into both that excitement for the new, as well as the love for the retro and nostalgic.

To me, it feels like a brand that stands somewhere between Marvel and Stranger Things, mixing fantasy, play, science fiction and nostalgia in one exciting universe… So it has a huge amount to keep offering it’s really broad audience.

The post Talking Brands: Why has TRANSFORMERS survived – and thrived – for 40 years? appeared first on Brands Untapped.