Our search and find programme has sold over one million copies, and in 2025, we released seasonal special editions of Where’s Stitch to celebrate Easter, Halloween and Christmas. We also saw strong sales for our Ultimate Football Heroes yearbook title. We’re focused on authenticity, playfulness and a fan-first approach and it’s working very well across the list.

Let’s dig into that fan-first approach. How do you keep informed about what brands, themes and trends are at the core of pop culture?
Social media continues to be a great source of information for us, as well as word of mouth, but ultimately, nothing beats immersing yourself in pop culture directly. Fortunately, my team is incredibly good at this, and we have some hardcore fans in our midst. We then combine what we’ve learned with an assessment of trending formats to create our publishing programmes.

You mentioned the success of your Disney Cute Colouring books. What do you put its success down to?
Cute colouring appeals to all ages which is helpful, but for adults, it offers comfort, an opportunity to take a mindful moment and encourages you to create something simply for the sake of being creative. The ‘cosy’ aesthetic is absolutely everywhere, so the concept is very on trend.

We can also see an incredible online community forming around cute and cosy colouring, with fans sharing their creations to inspire each other. The Disney aesthetic lends itself perfectly to this format as the art is already very cute, and it brings an element of nostalgia that works really well in terms of the comfort angle.

“The ‘cosy’ aesthetic is absolutely everywhere.”

Recently you added Pembe the Pink Cat to your cute colouring list. What appealed to you about Pembe – and how does the brand suit cute colouring?
Pembe and Cute and Cosy Colouring is a perfect match of character and format. We were drawn to Pembe immediately because of their kawaii aesthetic, and learning about their philosophy – they encourage joy, kindness and self-expression – sealed the deal.

The ‘Be you’ tagline is something that’s going to resonate with a lot of people. The colouring book combines cute visuals with emotional messaging to create the ultimate comforting colouring experience.

Pembe the Pink Cat’s creator, Sertan Christoffersen, was heavily involved in the book development. What was it like working so directly with the character’s creator – and how did this help shape the book?
It’s rare to be able to work directly with the creator of a licensed character and the Studio team really valued being able to jump on a call with Sertan, who explained what Pembe stood for and really set the tone for the creative process. Collaborating with Sertan directly simplified everything – feedback was clear and timely and I think the resulting product speaks for itself.

Pembe the Pink Cat is a character brand that has a lot of artwork, poses and illustrations associated with it. How important is it for a publisher to have access to this kind of artwork? And what makes a good style guide?
A style guide is incredibly useful for both the licensee and the licensor. It’s a fantastic creative resource for the licensee, but the best style guides also act as ‘playbooks’ which help the licensee create books that are authentic to the brand.

It benefits the licensor as well, as it allows them to outline any priorities and share key guidelines in order to preserve the integrity of the brand. A good style guide should make the creative process simpler for both sides, while also inspiring creativity.

How are licensed titles performing in the market at the moment?
The book market is saturated, but in one sense this gives licensed titles something of an advantage. If customers are presented with multiple options, they tend to gravitate towards brands they know and recognise… We call it ‘the trusted brand effect’. It means customers choose a brand because they trust what they’ll get will be right for them.

We’re seeing strong sales across many key characters, like Winnie the Pooh and Stitch, because of this. You’re more likely to get a recognised brand into a non-traditional outlet because of this.

Has the rise of platforms like BookTok changed how Bonnier promotes books to consumers?
Our marketing team feel that TikTok is a great tool to reach fans who are actively looking for new books to read, particularly in the romantasy and YA spaces. The users we tend to see on BookTok and that broadly Gen Z demographic are very ad savvy. They value authenticity and community online, so we largely try to spark awareness and conversation through trusted BookTokkers via creator collabs.

When we post ourselves, we aim to create content that mirrors the trends and formats that fans converse in, giving at-a-glance insights into books and using trope terminology quickly convey what the books are about.

What advice would you give rights owners and licensing agents thinking about approaching Studio Press with their IP?
A clear brand philosophy is essential. If a licensor can articulate what their brand represents, then that’s half the battle. We also need to understand who the audience is, how engaged they are, and what the rights holder imagines the publishing opportunity to be.

It’s also helpful to understand their ambitions for the brand over the next few years, as we’re always looking for long-term collaboration opportunities and ways in which we can help a brand reach its goals. And, of course, it’s great to know what other product is launching and if there are any big movie, TV or game releases – that give us a ‘moment’ to work with.

What lessons have you learnt in your time working on licensed books that you refer to in your day-to-day work still?
Communication is key and a good relationship starts with understanding the licensor’s goals – as well as understanding why the fans love the brand – so you can deliver products that give them what they’re looking for, whilst staying true to the brand’s identity.

“If a licensor can articulate what their brand represents, then that’s half the battle.”

It’s essential that you’re able to take on board feedback and build trust with a licensor – and being agile is also important… Things change constantly, both in terms of brand activity and wider trends, and you need to be able to react quickly and change direction if necessary.

Finally – and it may be a slightly unfair question as there are so many great bookshops – but could you recommend a couple of bookshops you like to spend time in?
I’m a huge fan of what Main Character Books are doing – with romantasy dominating the fiction space and a renewed focus on reading for pleasure, it was such a well-timed move. They’ve created a wonderful community atmosphere and a really fun, welcoming and supportive space.

I also wish I still lived up north so I could visit Wonderland Bookshop in person – they’ve created an incredible customer experience with their whimsical decor and I am utterly charmed by the space and their ethos.

Lovely picks! Thanks again Stephanie.

The post Stephanie Milton – Publishing Director at Studio Press – on ‘cute colouring’, Pembe the Pink Cat and BookTok appeared first on Brands Untapped.

Studio was set up almost 10 years ago by Helen Wicks, who is now MD of the children’s division. The Studio list is a mix of official Disney, Marvel, Star Wars and Dungeons & Dragons, as well as various pop culture and trend-focused titles. In addition to our Disney portfolio – which includes the best-selling Where’s Spidey? – we publish everything from books about movie directors and fashion, to the hugely popular Ultimate Football Heroes series which is particularly appealing to reluctant readers.

What role does licensing play in the Studio Press line-up? Has this change and evolved in recent times?
Bonnier believes that every book matters, and this is particularly relevant for Studio. We know that the right licensed book in the hands of the right child at the right time can be the catalyst that helps them learn to read. We also know that adult fans love to celebrate the stories and characters that have impacted their lives, and we want to encourage them to do so.

With all of this in mind, we are currently looking for more licenses to add to our ever-growing list so that we can continue to create books that fandoms of all ages will love.

“The right licensed book in the hands of the right child at the right time can be the catalyst that helps them learn to read.”

You mentioned that you work with Disney on a range of books. Can you tell us more about the Disney titles you publish and how you work with them creatively?
Studio publishes Disney books for all ages, but we have a particular focus on older, gift titles and collectors’ items – as well as interactive titles for younger readers such as search and finds and puzzle books. Disney creates a fantastic range of titles, many of which we pick up and rejacket to ensure the cover approach is right for the UK market, but we also like to originate a lot of our own content and work with Disney as content creators, too. We have a strong collaborative relationship with Disney and we are very lucky that they are so generous with their time.

I wanted to focus on a couple of specific books in the Disney list you publish – Marvel The Science of Super Heroes and Marvel Brain Games. Can you give us some insight into how you make sure each book is distinctive and original?
The Science of Super Heroes was the brainchild of one of our freelance authors, Ned Hartley. Ned is the ultimate Marvel expert and he’s written quite a few books for us over the years. It was a unique pitch – there was nothing quite like it in the market. Our Head of Design worked with Ned to create layouts that would appeal to the target audience – we wanted to produce something that was visually exciting enough to disguise the fact that the editorial was softly educational.

Marvel Brain Games is part of a series of puzzle books designed to keep young fans entertained on trips or during holiday periods. Again, design approach was key as it is soft education disguised as fun. All of our puzzles go through multiple rounds of testing to ensure they’re right for the target audience.

Generally speaking, we avoid ‘brand slapping’ and instead strive to create a bespoke, well-considered publishing programme that delivers exactly what fans want. Although there may be common formats that work, every brand is different and needs to be considered as an individual entity.

Given the long-term success Disney have had and their extensive history in publishing, how do you ensure your books feel fresh and original?
Disney are constantly delivering new movies and exploring new topics, so we have plenty of material to work with. Take Inside Out as an example… These movies have resonated in a very meaningful way with adults and younger audiences, and they’ve given us an opportunity to explore some new content and format ideas.

“We are currently looking for more licenses to add to our ever-growing list.”

We are constantly adapting our core series, too. Our clothbound Disney Animated Classics series has been a huge hit on socials for the past few years, but we started to run out of cloth colours and we wanted to create books for newer movies too. So, we launched a spin-off series: the arlin-covered Disney Modern Classics. When we acquired the Star Wars license we launched a third series – the Star Wars Cinematic Classics – which takes a very different cover approach, because the target audience is very different.

We react to trending formats and are constantly adding new titles to our list. The Jedi Mind Training Puzzle Book is a great example of that. We also explore special and anniversary editions of backlist titles where there’s an appetite and refresh titles to bring them up to date… We’re currently adding new material to the previously published Star Wars Galactic Atlas to ensure new, fan-favourite locations are showcased.

How important are book covers in selling books to the public?
We know that people do judge books by their covers, so we give them a lot of attention. We want a strong series look that is easily recognisable and stands out on shelves and online to encourage collectability. The Studio team will discuss ideas for a series design – which must be clear and obvious without compromising on design flair – then present several cover options to the wider business, and sometimes to retailers too if they are particularly invested in a series.

The ‘Book As Object’ trend is very interesting… More and more people view books as affordable pieces of home décor and as ‘signifiers’ to let people know what they are interested in. With the move towards working from home, people are paying more attention than ever before to what’s on their bookshelves and in their Zoom backgrounds. Creating series that people can collect over time and stack up on their shelves is a big part of this trend, and the series look has to be just right in order to ensure continued interest.

Can you tell us about your Street Style series of books. I know you have published books on Nike and Dr Martens in this series. How do you select the brands that feature?
This series is particularly relevant to the ‘Book As Object’ trend. Street Style is a companion series to our Story Behind the Style series which focuses on high fashion and jewellery brands. Street Style is a trendier, younger vibe.

Nike was top of the list for the sneakerheads – the company has an incredible history and their marketing is industry-leading. And we knew Dr. Martens was a good shout because half the Gen Zs in the office were wearing them! We expect this series to appeal to fashion-conscious Gen Zs and Millennials who will likely be keen to display these books on their shelves to tell people a little something about themselves.

Thinking about retail, what’s your take on the market at the moment?
Like most publishers, we’ve seen a significant increase in online sales over the last few years, while supermarket space is contracting. How a cover looks as a thumbnail online is more critical than ever – and we also have to find creative ways to showcase cover finishes and unique spec details, which are not so obvious online.

“More and more people view books as affordable pieces of home décor – ‘signifiers’ to let people know what they are interested in.”

For bricks-and-mortar retailers, we are mindful of everything from the size of the book – in relation to shelf size – to the durability of our cover finishes. Value is also more important than ever before, so we bear this in mind when speccing out a book and deciding on RRPs. We also like to offer exclusive special editions to retailers where it makes sense – we did this recently with a Nightmare Before Christmas Novelisation for Forbidden Planet.

How much forward planning goes into your list?
It’s a bit of a mix. We plan ahead as much as we can, but we also want to be agile and react to trends. There are certain formats and series that are easy to plan up to a couple of years in advance, and others that we need to bring to market quickly in order to capitalise on a trend or fulfil a customer request.

Sometimes a character’s popularity will take off and we need to respond accordingly. This happened recently with Disney’s Stitch… With a lot of help from Disney, we were able to react quickly to his exploding popularity and bring books to market in the space of a few months. We like to have as much creative time as possible, but we can also move quickly when we need to.

In a general sense, how do you keep in touch with your readers and understand what might interest them?
For me personally, being chronically online is the key! Joking aside, every member of the Studio team is a genuine fan of the books we create – or has a child who is – so ideation is a fairly organic process, and we have a great network of freelance authors who are also genuine fans. Essentially, we create books that we would buy ourselves, because we are the target audience, and this approach has never led us wrong. We always say that our books are created by fans, for fans.

In my spare time I like to play cosy games, and I’ve just written the official game guide for Disney’s Dreamlight Valley after spotting the attention the game was getting online. As a fan of the game, it was easy for me to tailor the content to deliver what I knew fans wanted – tips for game progression and ideas for creativity and décor.

Last year, we convinced Paddy Kempshall, a real-life stormtrooper and member of the 501st Legion’s UK Garrison, to write The Ultimate Star Wars Quiz Book for us because we knew he had the knowledge and passion for the brand.

What titles would you highlight as ‘key’ titles for this Christmas and ones to look out for in 2025?
This Christmas it’s all about Stitch… Look out for our Disney Modern Classics: Lilo and Stitch, written by Sally Morgan and illustrated using rarely seen concept art created by the original Walt Disney Animation Studio artists, as well as the gorgeous Ohana Means Family… This one will make you cry – you’ve been warned!

For younger fans, we have Where’s Stitch? which published just last month and has already reprinted multiple times. We’re also very excited about our Star Wars Cinematic Classics series, which kicks off with The Phantom Menace and A New Hope, as well as Winnie the Pooh The Little Things In Life which is another gorgeous Disney-created gift book.

Personally, I am very happy to be publishing Icons of Cinema: Baz Luhrmann in November – the first title in a new series dedicated to exploring the work of the world’s best-loved movie directors, written by the brilliant film critic, Emily Maskell.

And in 2025, you can expect lots of seasonal offerings across a broad range of moments with plenty of Stitch and The Nightmare Before Christmas.

Finally, can you flag up two books that have influenced you professionally and personally?
There are so many books that have influenced me personally, but in terms of shaping my reading habits I’d have to say The Weirdstone of Brisingamen by Alan Garner. My dad is a big reader and a lover of fantasy, and he suggested I pick it up when I was ten years old. It was my first introduction to fantasy fiction so it made quite an impression…

The combination of Garner’s writing style, the vivid descriptions of the tunnels – which, now I think about it, may well have contributed to my claustrophobia – the folklore elements and the fact it was set just up the road from us in Alderley Edge had me hooked in no time. I’ve been reading fantasy ever since and I’m very grateful to my dad for nudging me towards it at a young age.

Professionally, I’m a big fan of Simon Sinek. In a previous role I was sent on a leadership training course, and the teacher recommended that we read Start With Why. Sinek’s ‘golden circle’ theory is so simple but so important. It’s not an exaggeration to say this book had a huge impact on my career, from helping me choose the right roles to informing my approach to leading a team. If you know what you believe and why you do what you do, the rest follows.

At Studio, we believe that it doesn’t matter what a child is reading, as long as they’re reading something. We also believe that adult fans should be encouraged to celebrate their favourite movies, TV shows and characters instead of feeling ‘silly’ for doing so. If you’re really lucky, you may even be able to make a career out of it…

Nice note to end on. Thanks again Stephanie.

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