Carl Rush,

Oh my gosh, Miss Piggy is absolutely perfect for brand licensing. We all know she lives for luxury, fashion and beauty, so those are obvious choices for licensing categories. I could go on forever, but here are my top three products inspired by her iconic catchphrases:

“Hi-ya!” Perfumed Body Mist: A glam-meets-kung-fu body mist that celebrates Miss Piggy’s fiery side, confidence, sass and ability to take control of any room – or frog. Think OTT fragrance, pink pink pink packaging and a little attitude in every spritz.

“Moi” Luxury Lip Kit: A high-glamour lip set capturing her diva personality. Available in playful, sophisticated shades like: Piggy Pink, Champagne Kiss, Kiss de Moi, Pearl Diva, Froggy’s Fancy, Blush of Fame, Silk Snout. Perfect for fans who want to channel Miss Piggy’s signature style.

“Kiss Kissy” Luxury Handbag collaboration with Louis Vuitton: Glossy piggy-pink patent leather with a built-in mirror so you can admire yourself at all times. A flirty, indulgent accessory that perfectly embodies Miss Piggy’s love of drama, glamour, and unapologetic confidence.

Come on Miss Piggy, give Crush a call!

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Lucy Salisbury,
Director, Group Licensing & Retail Strategy, Funko

As a lifelong Miss Piggy fan, I couldn’t be more excited about this new chapter for such an iconic character. With the announcement that Jennifer Lawrence and Emma Stone are bringing her story to life, the upcoming Miss Piggy movie has all the right ingredients to inspire a new wave of consumer excitement. At Funko, we’ve already seen incredible enthusiasm for our Miss Piggy Funko Pop! and Loungefly Muppets Miss Piggy Mini Backpack. With more products across expanding categories on the way, the timing couldn’t be more perfect to celebrate her larger-than-life charm!

Oliver Dyer,
Founder, Skew

Why wait for the Miss Piggy movie? When it lands, the gravitational pull of Emma Stone or Jennifer Lawrence will be hard to resist. But it’ll also make it harder to tell any story that isn’t theirs. There’s already a product story to be told. One that could prepare the ground now.

Ruth Handler’s cameo in Barbie made us look again at Miss Piggy’s origin story, and we weren’t the least bit surprised to find Bonnie Erickson behind her creation. One of the original female creatives on Henson’s team, Erickson gave Piggy her look, attitude and flair.

The spotlight’s usually on Henson. But if there’s ever been a time to shift focus, it’s now. A ‘Bonnie Erickson Collection’ would be a fitting tribute and a sharp commercial move. Think updated 1970s design, subverted slogans and products that play with – and punch through – outdated norms. Piggy would HIYA! the idea that creativity is just for the boys.

And it’s needed. In a world where female-focused platforms like Halo – meant to promote women’s rugby – are pulled after three days for being “unbelievably sexist,” there’s still huge cultural and commercial space for brands that get it right. Piggy has always had star power. Now’s the time to show she has origin power too.

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Sophie Bloomfield,
Creative Director, SBC

Miss Piggy is an icon. And what IP delivers the strongest licensing opportunities? Icons.

Having grown up with Miss Piggy, her attitude, strong female personality and unapologetic assertiveness have always inspired me – and I believe many millennials and Gen X’ers feel the same.

When developing a licensing programme, I always start with a creative audit, identifying the natural themes within a character and building product categories around them. With Miss Piggy, there’s a rich heritage to draw from. Much like Madonna, she’s constantly reinventing herself, which opens the door for an ‘Eras of Miss Piggy’ range spanning fashion, accessories and footwear.

Her flawless face and signature glamour also lend themselves perfectly to beauty – Ciaté’s past makeup collaboration proved just how well that space fits her. And let’s not forget her musical side. A karaoke partnership with a brand like Lucky Voice, or even a line of musical instruments, could hit exactly the right note.

Gary Pope,
Co-Founder, Kids Industries

She was born for the solo career that beckons. Frank Oz, her creator, always said that, a little like Kermit, she was one of the few Muppets that really did have three dimensions. And that’s the simple rationale that says a solo licensing programme for the swine could very well shine.

So who exactly is this enigmatic cultural icon? We know she grew up in Keystone, Iowa; her father died when she was young, and her mother wasn’t at all nice to her. She took herself off to beauty contests and had to win to survive. And she did. Allegedly. That tough upbringing meant, as it so often does, a vulnerability disguised by a forceful personality – and her killer karate chops. Ultimately, it’s this hard-earned resilience that provides the foundation for the success that will follow her forthcoming movie.

She’s been called a feminist icon, and it’s clear that Miss Piggy is part of our collective consciousness. This porky embodiment of nostalgia is entering stage left for her big moment at just the time when nostalgia is more needed than ever. She’s glamorous, funny, confident and always impeccably dressed. If the movie producers get it right and Disney plays their CP hand well, this Miss will be a bigger piggy than Peppa.

When awareness levels match affinity scores, then you know you’re on to something good. And that’s where we are with her. Never mind the trade; her existing consumer fan base is legion. And if someone isn’t a fan now, they will be. Who doesn’t like an anthropomorphic, French phrase-purring, frog-loving, karate-chopping puppet diva pig? There is so much to play with. However, maintaining her character’s authentic identity – elegant, self-absorbed, and comedic – is essential in ensuring brand integrity as those deal memos get signed.

A considered licensing strategy for the doyenne of pigs can and should target multiple segments, with products designed for different age groups and across various categories. Toys and costumes for children, luxury accessories for adults and novelty items that highlight her larger-than-life personality can all be explored for great effect and margin.

Categories such as apparel, accessories and beauty products appear particularly promising. Her glamorous image aligns perfectly with fashion collaborations, cosmetics and jewellery lines that emphasise confidence and style. Yes, it’ll need a tongue-in-cheek execution, but that’s why it will work. Who doesn’t want a pillow or a throw blanket that screams “Moi”?

And let’s not forget the digital age was tailor-made for Miss Piggy. She’ll take the socials by storm – posing, pouting and playful. That larger-than-life personality is perfect for TikTok, Instagram and beyond. She might even spark some interest among influencers and content creators, making her not just a licensing icon but a social media sensation.

Glamour, humour, awareness and affinity? Miss Piggy will hog the spotlight and bring home the bacon.

Danny Heffer,
Independent Creative

Oh wow, what a character! What a force of nature! Actress. Singer. Model. Author. Style icon. International treasure. I see a very clear route here, noticing the buzz around The Devil Wears Prada sequel and previous outings like House of Gucci. Playing on Piggy’s fabulousness is a clear winner. I’d look to create some top notch collabs with the best of the best fashion houses and turn a silk purse into a sow’s ear.

Her penchant for French phrasing steers me to towards the French fashion houses… She’s fashion-forward, fashion-flawless, fashion-everything. Perhaps she could use her beau for a muse, Hermès for Kerm-ès perhaps? The world needs it! The most dapper of frogs would suit a bespoke bow tie or pocket square, although being naked I’m not sure where he’d keep it.

Looking at her other attributes, she’s a black belt in karate so sportswear seems an obvious route to the (livestock) market. I see her in a hot pink version of Uma Thurman’s Kill Bill tracksuit by Onituska Tiger maybe? Being so adept at the martial arts, I wonder if there’s a UFC angle here? Brands such as Monster and Red Bull are in the Octagon already, so perhaps there’s room for an energy drink too – giving the modern athlete some pork power could work. Bacon-flavoured energy gels? Protein packed pork scratchings for that after work out refuelling? Fizzy gravy drinks? Count me in.

Megastars in a similar league have looked to create their own brands and therefore cut out the need to pay away to a third party. Beyonce has Ivy Park of course, but I see a natural fit for Ivy Pork. Queen Bey has just linked up with adidas and ASOS to deliver a winter drop. Using body loving latex, sheer monogrammed leggings and patterned puffers, when winter hits, find your Pork.

So what attributes should we carry forward into a licensing programme? What pearls of wisdom can we cast before the swine? Feminine power obviously, Having the mental strength to cope with such devastating beauty, glamour personified. What the love of a good frog can do to a woman. So many life lessons to be learned from such an inspirational figure.

She is beauty. She is sparkle. She is the reason sequins exist. I’m smitten, I’m boar-struck. I can’t wait for the movie.

Alaina Caldwell,
Partner & Creative Director, StyleWorks

Miss Piggy is an icon! She could definitely hold her own as a solo licensed character even without the motion picture, but the new character-focused movie will certainly make for a major marketing moment and begin a flood of product development that could extend for years to come.

I think health and beauty would be an important category for her as it ties back to her glamorous character. Apparel and accessories and dress up could be huge as well, as she always loves to dress to impress. Most importantly, the product messaging and sayings within the designs should focus on her snarky humour and unfiltered expressions.

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Sandra Vanstan,
Head of Licensing, William Lamb Group

Miss Piggy could absolutely smash a solo licensing push. She is so iconic, sassy, glamorous and confident. She knows what she wants and does not hold back to get it! An inspiration!

She touches the hearts of many who know and love her through growing up watching The Muppets, or through her gifs and memes on social media. One of the things I absolute love about her is her unapologetic self-love and body positivity, such a key relevant cultural message.

This beautiful swine would most definitely shine working with both fabulous retro high-end fashion collabs and fast fashion. Perhaps a Valentine opportunity with her passionate pursuit for Kermit! I could also see health and beauty doing well with this, thinking ‘Eau de Moi’ perfume, and not forgetting those false eyelashes!

Naturally, I have absolutely no doubt our talented team here at William Lamb will pay homage to her with product development to support this movie. I think the key would be to keep Miss Piggy true to herself, keep that inner diva and let her own it!

April Canlas Eddy,
VP of Operations & Business Development, Mattson Creative

The enduring allure of Miss Piggy can absolutely sustain a standalone licensing program today.

Her intentionally over-the-top glamour gives fans permission to lean into high style and personality. This maps cleanly into premium collaborations across apparel, handbags, sunglasses, cosmetics and skincare.

Miss Piggy’s aspirational lifestyle also lends itself effortlessly to partnerships across gourmand-adjacent categories such as chic kitchenware, tabletop, wine glasses, barware, and aprons. The opportunity is not just in nostalgia alone, but in Miss Piggy’s attitude. Her self-love is turned all the way up! She is bold, extra, and full of camp.

Miss Piggy appeals to adult fans of the Muppets franchise and her comedic bravado is culturally aligned with what audiences celebrate now – empowerment, theatrical confidence and radical self-awareness. I can’t wait to see the movie!

–

Arrthi Little,
Founder of Arrthi Ltd & Creator of Cheeky Legends

Undoubtedly, Miss Piggy has all the right notes to take the centre stage of a solo licensing outing. This character is not only visually iconic, but her sass eludes drama and makes her take the spotlight on the shelves. We’ve recently seen other pink, diva-heavy characters stand out – such as Barbie and Glinda from Wicked – proving the appetite for powerful, aspirational female archetypes who embrace theatrical glamour.

I believe Miss Piggy would truly shine on women’s apparel. There is no doubt nostalgia will be used as a powerful tool for edgier, adult t-shirts, perhaps using original TV show imagery and bold graphic treatments. But for the new generation, I see a softer approach – cute and comfortable sleepwear that makes for great gifting. This ties into the growing consumer trend for wellness and self-care that has dominated the lifestyle market. There is also the opportunity to tap into the beauty and diva aspect, so I see strong collaborations with premium make-up brands.

As far as the retail landscape is concerned, the Muppets brand is still vastly more popular in its country of origin, the US. However, from a UK perspective, the Disney ownership makes the licensing program ideally suited to high-volume, trend-driven retail. We should expect to see products appealing to both large supermarkets and high street destinations like Primark, offering affordable, fashionable gifting options that tap into both comfort and nostalgia.

On a final observation… I was recently watching Muppet Babies with my little girl and what stuck out was the introduction of a new character, Summer Penguin, perhaps to address the lack of female representation. As you soon notice, Miss Piggy is the only female lead amongst a nearly all-male cast. So, I would not be surprised if we see a new, more diverse female character being introduced with the solo movie project that might have a potential ‘Ken effect’. If so, licensees must be ready to embrace this unexpected star. The biggest opportunities often come from agility, and the licensing industry should not hesitate to leverage a breakout new character to build fresh, long-term audiences.

Stephanie Griggs,
Founder & Creative Director, Studio Griggs

I reckon there’s a pig opportunity to build a licensing programme around this… Quite frankly it feels like a range should already exist, film or no film, because to me, Miss Piggy sits in a Jennifer Coolidge-character-adjacent space, which is the slightly unhinged energy we all need.

She has so many iconic phrases, which I’m sure the film won’t be short on taking advantage of, so pun and slogan-led fashion and accessories would be great hero categories.

I’m thinking quotes like this, on tees, hoodies, phone cases and so on: ‘Who, moi?’, ‘Too glam to give a ham’, ‘Cancelled? Impossible’, ‘Hogging the spotlight since 1976’, ‘Green flags only!’… I could go on with the porky puns!

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Katie Edmundson,
Senior Designer, Studio Noel

Fashion and beauty comes to mind – she’s known for being glamorous and always being beautifully dressed. I can imagine luxurious fur-trimmed pyjamas, everything in pink or a range of accessories that she herself would wear. For beauty, she could work well as the face for a range of products and vanity accessories – false eyelashes, sparkly eyeshadows, light-up mirrors and bedazzled eyelash curlers.

Homeware could have a similar vibe to fashion but translated to luxury products you could buy for your home, which she would surround herself with. Think sassy slogans on pillows and everything in pink.

Then in publishing, I can see some guides, memoirs or inspirational books from Miss Piggy. Her takes on how to live life as a diva, how to love yourself, how to be unapologetically you, or a range of diaries, calendars, journals with glamorous design and motivational quotes or fashion tips.

Jasmine North,
Licensing Co-ordinator, TDP Textiles

Of course Miss Piggy could go solo – she’s a global icon! She is the ultimate diva who isn’t afraid to speak her mind, head strong and confident. An unlikely feminist but with all of her traits makes her the perfect advocate. Even her name ‘Piggy’ usually referred to as a negative connotation, an insult even, can be turned around into positive association – juxtaposition at its finest!

With it now being announced that she has finally made it and has her own movie is quite liberating and the fact that Jennifer Lawrence and Emma Stone are behind the movie makes it even more empowering. And where would she shine? I would love to say everywhere but I think she would be a great success in the high street retailers such as New Look, Primark, M&S, H&M and Zara… Imagine the activations! Glitzy and glamorous – attracting not only magpies but anyone who loves a bit of glam in their lives.

Online retailers such as Character.com, Truffle Shuffle, Vanilla Underground and Amazon are also places that I think would work. Not only does Miss Piggy tap into that nostalgia trend but with the convenience of the online shop, fans can purchase impulsively when the hype erupts.

Millennials would remember Miss Piggy from The Muppets and her on/off romance with ‘Kermie’ or ‘Frog’ depending on whether he was in good books or not. They would also remember Miss Piggy’s talent for karate, with the recognisable “Hiii-Ya!” delivering a karate chop – or more appropriately pork chop!

The obvious collaboration would be a makeup/beauty brand as she is well-known for her extravagant eyelashes, well applied makeup and immaculate hair. Other perfect products could be hairbrushes, false eyelashes, eyeshadows – the list goes on.

I’m excited to see Miss Piggy develop and expand as a solo brand and to achieve that movie star status – hopefully she’ll get her own golden star on the Hollywood Walk of Fame!

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Steve McInerny,
Director, Sharp Sharp Creative

I’m all for licensing campaigns being based on one character – though Fozzie Bear would have been my choice. People identify much more naturally with a character than an abstract brand, and we all know that Piggy doesn’t like to share the limelight.

Is Miss Piggy a popular enough character to sustain this? There hasn’t been a lot of recent Muppets content for kids, and she isn’t especially well-loved among Muppets fans, based on a quick trawl of Reddit’s r/Muppets feed. In the media she’s often mentioned as a size positive, feminist and LGBTQIA+ icon. These are not areas which I’m an expert in, so I asked some friends who collectively have a broader range of perspectives. For some reason they didn’t take this entirely seriously, here’s a summary of their more printable comments…

• In this time of Ozempic, celebrities and the media are moving away from size positivity.
• Piggy is in need of an update: my female friends didn’t especially identify with her extreme fixation on a male (frog) figure. And maybe it’s time for Miss Piggy to become Ms Piggy?
• There wasn’t any great recognition of her being an LGBTQIA+ icon.
• The Muppet character Sam the Eagle was jokingly proposed as being more in tune with the present zeitgeist with his more conservative, patriotic views.

So based on this straw poll, Miss Piggy has some work to do in order to become a success. Jennifer Lawrence makes the development process sound like it’s all been very vibes-based up until now, though I’m sure there are more hard-snouted conversations going on at Disney.

I’d love to see a Miss Piggy assertiveness self-help book. And surely there’s a great partnership to be had with one of the dating apps. Just don’t say pork products.

The post Talking Brands: A Miss Piggy movie is in the works… Could the famous Muppet sustain a solo licensing push? appeared first on Brands Untapped.

As we approach the 50th anniversary of that championship, the Hunt family wanted to both celebrate their father’s life and achievements. We’ve already got deals with Topps/Fanatics, digital partners like Natural Motion Gaming, EA Sports and Hutch, as well as Automobilist for high end prints.

What were some of the key objectives for the style guide?
Tim: We need assets for companies to use and wanted to lean into the wider 70s vibe and general motorsports trend, which is very hot now. James used a three colour stripe from his old school colours on his racing helmet, which is used in the guide and is part of our trademark programme.

Steve, how did you start your engine, as it were, when you got this brief?
Steve McInerny, Founder, Sharp Sharp: I always get as close as possible to the story behind the brand and to its audience. For the James Hunt brand, Tim has been an invaluable source of information about James and the brand as he works closely with the James Hunt Estate – and he also put me onto a very good biography about James by Gerald Donaldson. To understand the fans and what they wear, I’ve also been watching Formula 1: Drive to Survive – it’s addictive! I hope to make it to some motor racing events in the near future too.

I noticed you included Hunt’s old school colours. Can you tell us more about designing authentically and how you achieved this in this style guide?
Steve: Tim was able to get access to James’ original racing helmet and took colour references of the racing colours from that which he passed on to me. This was important as motor racing fans can be very detail oriented. It’s always nice to have a client who knows their way around a Pantone swatch book!

And I always look for a set of core elements which are meaningful to the brand – this comes from the research I do. From there, I can start to have fun and combine them in fresh ways in order to appeal to the audience. The licensing world, to me, is where brands come to play.

Did you have particular product categories in mind when designing the style guide?
Steve: Tim provided guidance on target categories. I aim to know at least a little about a lot of product categories to ensure that we produce the right types of assets for licensees. For key categories such as apparel, I can enlist the help of a specialist associate. To ensure versatility of the assets we produce, simple is often best. This allows for trend-based graphics to be developed on top of these core elements.

Thinking about specific elements, like the fonts you have used, can you talk us through the development and what makes the guide ‘roadworthy’?
Steve: F1 cars, uniforms, billboards and posters of the era provided plenty of inspiration for the typography. And drivers had their blood group on their overalls in case treatment was needed in an unfamiliar hospital. We recreated this as a detail on some of the apparel concepts.

There are lots of legal, quality and cost considerations around the creation and use of assets in brand licensing, that could be an article in itself! I am very mindful of these, and we’re used to developing assets from scratch in order to address these issues.

The world of motor sports is quite a competitive one licensing-wise. How did you ensure the James Hunt guide stood out and was unique in its styling?
Steve: Tim’s brief to capture ‘the smell of engine oil and the roar of the engines’ in the guide was a great prompt, reflecting the jeopardy of 70s F1 racing. Seatbelts only became mandatory in F1 in 1972! James’ effortless casual style is also unique. I alluded to this in the product and packaging concepts by combining untreated materials, such as distressed denim and recycled card, with more premium ones.

Tim, how would you summarise the appeal of James Hunt and the assets you now have available?
Tim: James is part of a select group of F1 champions that have wide appeal beyond the sports main fanbase – much like Ayrton Senna. With a new audience following F1 now, it’s more about the drivers than the cars and that authenticity is important when we target both older and newer consumers. Steve has tried to blend 70s design into the guide to appeal to both a fashion and motorsports market with logos and other icons.

“There’s lots of mileage in terms of the creative possibilities for the brand.”

More generally how do you see the licensing marketplace shaping up for celebrity-led opportunities like this one? Are there examples from, say, music or entertainment that you would point to as ‘best practice’ in this category?
Tim: Senna in F1 and Steve McQueen are both good examples of automotive and fashion icons which we’re inspired by – James was a good looking man after all!

Can you give us some insight into your licensing plans? What are the ‘priority’ categories you are hoping to secure this year?
Tim: We’ve signed a deal for a documentary and are looking at a book for 2026. Product areas for merchandise include high-end collaborations for watches and clothing . We are working with our licensing agent GTL in securing some of these deals plus looking at more collectibles and mass market clothing.

And to wrap up, Steve, if you had to highlight one or two parts of the Guide you are particularly proud of, what would they be?
Steve: As is often the way with style guides, it feels like there’s still lots of mileage in terms of the creative possibilities for the brand. I’m really pleased with the typography. This includes distressed type treatments intended to evoke the speed and vibration of the cars. I used a typeface with a range of widths, which enables letters and words to be stretched horizontally without resorting to adjusting the horizontal scale – a big design no-no in my book. And I had fun putting together an animated sizzle of the guide for the case study, complete with some bespoke AI-assisted sound effects of the F1 cars!

The post The Brand Director’s Tim Collins and Sharp Sharp’s Steve McInerny discuss development of the James Hunt style guide appeared first on Brands Untapped.

Steve McInerny

I loved to get immersed in the whole Warhammer and Warhammer 40,000 universe as a kid/teenager. My dad used to take my brother and me to Games Workshop, I’m sure for his own enjoyment as much as ours.

Games Workshop and Warhammer has explored many brand extensions, from vaguely disturbing death metal records to American football for orcs. So, what to suggest? A Farrow and Ball/Citadel Paints interiors paint range containing Orruk Flesh green and Inkubi Darkness? A special edition of Vanish stain remover to get rid of the stains from said Citadel paints and bloodstains from scalpel mishaps when assembling and painting the figures?

I would argue that Warhammer can be inaccessible to younger players because of the high cost of the miniatures, the patience needed to paint them all and then plan your army before a game – not to mention that it can all be a bit serious at times. My suggestion is a simpler version of Warhammer for younger or more casual players, which is faster to pick up but still contains the freedom and detailed world-building of the original. I would replace the custom miniatures with another range of miniatures which most households already have – LEGO minifigures.

This would be a great chance to give that unloved astronaut minifigure a glow up and turn her into a Space Marine, or that Ninjago Warrior into a Daughter of Khaine. I had a look online and see I’m not the first to suggest a Warhammer LEGO range, though as far as I know it’s yet to materialise into any products… While it may have limited commercial benefits initially for Games Workshop as they wouldn’t be making the figures, it’s a step I’d love to see them take to expand their future audience.

Kelly Gunstone,
Licensing & US Business Development Manager, Winning Moves

At Top Trumps, we thrive on epic clashes and trying to beat your opponents in the ultimate battle – no universe delivers battle on a grander scale than Warhammer 40,000. If we had access to the Games Workshop license, we could develop a Warhammer 40,000: Top Trumps Ultimate Battles series… An immersive, collectible range bringing the grim, darkness of the far future to the fast-paced, strategic gameplay of Top Trumps.

Each deck could focus on key factions, including the Imperium of Man, Chaos, Xenos and War Machines, featuring legendary heroes, monstrous warlords and devastating vehicles. Players would compare unique stats such as Battle Prowess, Psychic Might, Firepower, and Tactical Influence, making every matchup feel like a true Warhammer 40K skirmish.

We know that Warhammer fans are dedicated, and special collectible editions could enhance collectability. We could use special foil and limited-edition cards featuring Primarchs, Titans and characters like Abaddon and Guilliman. Expanding on Top Trumps’ classic format, we’d also incorporate Faction Abilities, giving certain cards powerful effects, mirroring their tabletop strengths.

This feels like a perfect gateway product, appealing to both Warhammer veterans and newcomers. It taps into the hobbyist mindset – collecting, comparing and strategising – while offering an accessible, quick-play format. Plus, its impulse-buy appeal makes it ideal for gaming stores, bookstores and major retailers.

Paul Bufton,
Founder & MD, Licensed Ltd

We’re a Games Workshop family – both of my sons played and painted when they were younger. My eldest (now an adult) regularly plays the current video game and recently bought some figures to build and paint as he likes the mindfulness aspect of the activity. I’ve always been in admiration of Games Workshop as not only are they a home-grown success story with a fantastic business model, but they also drive creativity and community through their fanbase.

If I had the opportunity to license their IP, I’d take the success of the current video game – Warhammer 40,000: Space Marine 2 – to the next level with an immersive location-based VR combat gaming experience. It would be a seamless brand journey from marketing and ticketing all the way through to the location itself. You could play as groups of friends or team up with others (very much like you do in the online game).

Once you’ve completed your quest, there would be time to hang out afterwards to play some table-top Warhammer, or check out the latest products in the state-of-the-art retail outlet – or grab something to eat or drink in a fully themed restaurant. It’s a pretty edgy title aimed at teens and adults, so not really suited to younger players, but there’s a big enough fanbase to make this kind of unique destination a success.

Corinne Duckworth,
Commercial Executive, Dreamtex

The Games Workshop license holds so much opportunity to develop into so many different licensing categories. Virtual games have been developed already, but I think there is an opportunity to expand that further into the virtual reality world, where players can interact with other players on a platform which immerses them directly into the game. As this game is based around the imagination, it would be amazing to bring the worlds to life using state of the art technology such as headsets with built in sound systems and reactive controllers.

Building on this, I think there is a real opportunity to bring the Games Workshop license into the real world and have an interactive attraction based around the most popular worlds in the games. Licensed attractions are a hub for fans to experience what, up until that point, they have only imagined. With licenses built on fantasy, in-person attractions are an opportunity to showcase the amazing games and stories within play.

Matthew Garnerbundy-Higgs,
Sales Account Manager, Pawprint Family

While I may never have been a regular haunter of games such as Dungeons & Dragons and Warhammer, I am a proud, self-proclaimed Stranger Things geek. Having heard of D&D pre-Stranger Things, and knowing people who had always played it, and similarly Warhammer, the intrigue was always there. Until the day came that I was invited to a small, independent “geek” collectors’ shop in Blackburn, had a look at all the mini-figurine creatures wondering where I fit into this completely new realm… I was then taken through a curtain and into a backroom where I was greeted by many excited people of all ages and a large table replica of a mythical world. I quite literally thought to myself: “This must be where the magic happens.” As the three-hour long game commenced – and having a theatre and performance background – I instantly loved watching these complete strangers immerse themselves into a world created by their own imagination. I now understood!

While I am aware there is already an extensive range of Warhammer micro-collectibles out there, I do feel there is space for a range of “mini” arm backpacks, clipped around players’ wrists for them to safely transport their character pieces around when travelling to their next Warhammer meeting. How cool to be able to sit down to a game, both hands on the table because you mean business, unzip from your wrist, and unleash your chosen army! Think Pikachu coming out of his Poke-ball. The range would include more than one size to tailor for small armies through to larger ones. I’m now beginning to wonder where my nearest ‘Geek Retreat’ is… It might just finally be time for my next game!

The post Talking Brands: From Top Trumps to VR experiences… Where could Warhammer’s licensing journey go next? appeared first on Brands Untapped.

The plan is to ‘divide and conquer’ through Mel leading on trend, lookbook and fashion-focused elements of projects. I will continue to lead on most other areas of design, as well as any brand strategy work. There’s enough overlap between us that we can help one another out.

Let’s talk trends Mel. Can give us some insight into how you keep in touch with trends? And could you highlight a key trend you have noticed recently?
Mel Williams, Fashion Design and Illustration Associate, Sharp Sharp: My process when it comes to researching up and coming trends involves a number of resources – usually social media looking at independent fashion brands on Instagram and Pinterest. I especially love brands such as Lazy Oaf, Outsiders Division, Jaded Lnd, Ragged Priest.

When I can, I use WGSN which is amazing. It covers predictions and what’s trending now, all on one platform. It also publishes not just fashion trends but market trends, the retail climate, new collabs and what’s progressing in digital and Web 3. I also like to look back in history too, depending on what project I’m working on.

“We were tasked with condensing Lambretta’s extensive corporate guidelines and updating them into a licensing-friendly version.”

What I have noticed over recent years is that fashion now is incredibly individual and to each and everyone’s own taste. Not like back in my day in the Eighties and Nineties where you had to have the latest grunge look, or POD shoes, or baggy dungarees and bucket hat from the rave movement… You could not be seen without wearing classic brands such as Chipie, Lacoste, Benetton, Kappa… Anyone remember Le Shark? Ha! And those were great memories, but today it’s more about individualism.

Obviously the reclaimed, upcycling vintage trend isn’t going anywhere. And customisation is going to grow more and more. I think the future has to be customising fashion in-store – more hands-on experiences and experimental retail. Also, the transition from gaming – and customising digital fashion products to purchasing the physical creation – is already underway, as proven with the recent Shopify and Roblox partnership, which is launching next year.

Great insights. Thank you. And do you think certain product categories are the trend-setters in licensing?
Mel: I think fashion – with a focus on footwear – is still a strong leader, especially if it’s limited edition or collectable. Also, expanding from products into gaming, digital and phygital will just grow and drive the market further.

You recently completed a design project for Global Trademark Licensing and the Lambretta brand. Can you tell us more about this?
Steve: Growing up, I remember the scooter kid in our village talking about how much he loved Lambretta – and of course the big presence of Lambrettas in Quadrophenia – so I was very happy to be asked to work on this one.

We were tasked with condensing Lambretta’s extensive corporate guidelines and update them into a licensing-friendly version. We structured the style guide with this in mind, with a section on the core brand complemented with sections and assets for the ‘Contemporary Mod’ and ‘Urban Style’ audiences.

Chris Tague at Global Trademark Licensing has been very complementary about our work, and Lambretta asked for minimal changes to our designs, so while it’s early days for the updated branding we believe our involvement has been a success.

Thinking about the Lambretta style guide, are there any specific examples of creative that you are particularly proud of?
Steve: I love how Lambrettistas, as fans of the brand are known in some places, put so much of their own personality into the scooters and their clothing through some radical customisations. This spirit has been injected into the style guide, through the use of modular elements inspired by badges and an encouragement to make products personalise-able.

What sort of research did you do before and during the development of the Lambretta guide ?
Steve: We conducted visual research into the brand today, its history, and its influences on culture such as the Mod movement. During this work, it became clear that there are two key audiences: the fans of classic Lambrettas and mod culture, and the younger, more urban audience who might buy Lambretta’s current scooters.

In your experience, has the role and content of a style guide changed in recent years?
Steve: The rise of collabs and brands being prepared to be more flexible than in the past has opened up lots of creative possibilities… Style guides need to convey the spirit of the brand rather than just be a collection of assets. And with online brand guidelines services such as Brandpad, style guides can become evolving documents instead of static PDFs.

Mel: I agree with Steve 100% regarding conveying the spirit of the brand. I’ve been working on a recent Netflix anime which is due out next year, and it’s all about the storyline and the emotional connections with the characters in the style guide. The assets tie-in beautifully with the premise and are so different to the norm. It’s been a pleasure to work on something so refreshing.

Would love to chat about that once it’s out. And have you seen brand owner’s design needs evolve in recent years?
Steve: With the rise of 3D printing, gaming and digital products, the assets required are changing too – 3D, audio and video elements are becoming increasingly useful for example.

3D can be tricky to do well, so I work with 3D designers on these projects. I gained experience in working with video, audio and motion graphics when working in-house at TV producer Fremantle for brands including Danger Mouse and The X Factor. It’s always exciting to help bring brands to life on screen.

Mel: I agree again with Steve, from my own personal experience having a brand, 3D printing is a great tool to see your 2D ideas come to life. Also, I’m definitely wanting to shift to digital and phygital. My brand Phat Kandi has recently soft launched in Roblox – still in the testing phase – but I can’t begin to tell you how less stressful it is to create digital products rather than physical. There’re no creative limitations… None of this “sitting on dead stock” business! And it’s also better for the planet!

While we’re talking tech, I understand you are using AI tools in your work?
Steve: I’ve been experimenting with AI image generation for a couple of years now – and more recently video generation too. The possibilities are hugely exciting, though it can be unpredictable so requires patience and clear direction to achieve a desired result. Right now, I use AI tools to help with product concepts, mock-ups and supporting imagery… I did this in the Lambretta project for example. In time I expect it – and my skills – to progress to a point where I can create key art with it too.

“Style guides need to convey the spirit of the brand rather than just be a collection of assets.”

Mel: Personally, I get frustrated with AI… I think you have to spend a lot of time on it to perfect it. I prefer the old skool design process, AI scares me a little! Ha!

I’m sure you’re not alone! On that, I know Sharp Sharp has developed an AI-enhanced brand strategy tool for smaller businesses called BrandSeed. What’s the thinking behind it?
Steve: I think one of the disadvantages smaller businesses have always had compared to larger ones is the lack of resources or expertise to build a strong brand strategy. Large Language Models such as ChatGPT have progressed to the point now where – when combined with a rigorous process and the right input and direction – they can speed up the development of brand strategy and massively reduce the costs involved.

To achieve this, I’ve developed BrandSeed, an AI-enhanced brand strategy service. It is being developed with my collaborator Josh Dawson, in association with London South Bank University. There are lots of possibilities for its use within the licensing industry, both for smaller IP owners and creators and for ones who manage a large number of brands.

Sounds interesting! Returning to your collaboration with Mel, how are you finding this working in practice? Do you think more creatives should collaborate?
Steve: Working with Mel is great. Her experience in fashion, digital and social media have sparked lots of ideas. I think neither of us is particularly ego-driven, so will also both come up with ideas for the same project, as we did on some Thunderbirds t-shirt designs recently for Anderson Entertainment.

I love creative collaborations, it opens my eyes to new perspectives and makes projects more enjoyable. At Sharp Sharp, we work with a small network of associates rather than employees. This makes it easy for my associates and me to collaborate in whatever way works best for the project. Working in house or at an agency can reduce this freedom a little, but there are often opportunities to work with people from partner organisations, so look out for them!

Mel: Steve has been great to work with. He is an intelligent and generous designer who knows brands inside and out. I do love to collaborate. Working alone can sometimes be frustrating especially if I’m having a blank day! You get so much more creativity from bouncing ideas around.

“I love creative collaborations; it opens my eyes to new perspectives and makes projects more enjoyable.”

As a design agency, how do you measure success for your clients? How are you able to show them that your design work represents ‘value for money’?
Steve: We follow up with clients to find out about how effective our work has been. This could include increased sales, them winning a new client through a brand presentation or the brand getting talked about more.

Measuring return on investment for branding work can be tricky. We’ve identified a set of four key areas where brands have a direct impact on business performance – and have the stats to back this up. The brand’s performance in these areas can be measured through surveys and other means, to provide proof of that all-important return on investment.

As an independent design agency, how challenging is it to stand out in the market?
Steve: I’ll let you know how to ensure stand-out once we’ve cracked this ourselves! I see our strengths being applying our rigorous big-brand thinking and experience from other industries to the licensing world, a sense of playfulness gained from our entertainment industry experience and the flexibility of our associate-based structure. Our marketing resources are minimal, so we express this chiefly through our work and the way we work, word of mouth is vital.

Finally, can you both pick a couple of examples from your recent portfolios of design work you are particularly proud of – and that you think worked well commercially?
Steve: I’ve undertaken freelance work for Warner Bros’ entertainment division for a few years now, and love working with their top-tier content. This has included tradeshow graphics featuring various DC superheroes – as well as work for their mega formats such as The Bachelor.

And I’m proud of the work I’ve done for Global Trademark Licensing, including work to elevate their sales materials as well as work on one or two of their automotive projects. In both cases I think the work has succeeded because I really care about the content, and in representing it in the best way.

Mel: I’m incredibly proud to have worked on the apparel side of Gola since 2023; again a great heritage brand from back in the day. Creating collections that are relevant to today’s consumer have worked well and are selling in multiple stores.

Working with the UK digital metaverse fashion house Republiqe on Phat Kandi has been very rewarding and I’m super proud! Republiqe has built a virtual fashion department store called Hex, where you can purchase digital clothing. There are a few brands in there, each with our own branded themed concession. Moschino is monochrome, Irregular Choice has a fun fair, magical vibe, the Republiqe collection is couture and the Hex store’s own range is casual streetwear. Phat Kandi is themed as a candy store, naturally, with a branded retro feel.

It’s working commercially because James, the creative director, is so giving and supportive and really knows his stuff in this space. Also, it makes so much more sense to have Phat Kandi in Roblox, as it’s a fun visual brand with graphics that pop, alongside no creative limitations and more geared towards gaming and the gaming audience. I

It’s still early days but Phat Kandi is doing well so far. We are releasing an AW/Halloween drop in October and more features in store such as limited edition drops, gamification, VIP events, the drinks brand Hype has a cafe in there. A beauty bar is opening soon.

Exciting times. Thanks again!

The post Sharp Sharp’s Steve McInerny and Mel Williams talk trends, fashion and successful style guides appeared first on Brands Untapped.

For the past four years I’ve been running Sharp Sharp Creative, where we undertake a wide range of branding and creative projects. We work remotely, and have associates who specialise in brand strategy, copywriting and research who I can call upon when specialist expertise is required.

We have a focus on entertainment and brand licensing. Our clients include Warner Bros, Global Trademark Licensing and Yakka Dee! Ltd. This involves a mix of independent creative work as well as collaborating with associates on larger projects – I find that clients appreciate the flexibility.

I’ve been designing things for over 20 years now, mostly in London after moving down from North Yorkshire. Highlights of this time include working as a designer at the Natural History Museum, where I got to work with scientists and artists, with a special mention to the special effects team who were kept hidden away in the basement!

I also spent ten years at Fremantle, where I led a small – but award-winning – design and video editing team, this is where I first became involved with brand licensing. We got to work on an amazing range of brands, from Baywatch to Danger Mouse, and juggernauts like American Idol to experimental YouTube shows. It was a real privilege – despite feeling like a fish out of water – to occasionally go on set, and even on occasion to dress up in the characters’ costumes!

I’ve done my share of work on less glamorous brands, in less glamorous locations. If any readers are in this position, my advice is to keep plugging away and one day you’ll realise it was all useful experience, even if only to build character!

I know that you publish your own blog and in a recent post you made some very useful trend predictions for 2023. One area which you identified as appearing in a number of trend reports is AI, and in particular AI-generated imagery. Can you expand on this and why you see this area growing in licensing?
After struggling to find a comprehensive list of the trend reports in one place for this year, I decided to make one myself. I keep it updated here, so would love to hear from anyone who has any reports to share.

My predictions are just like anyone else’s – highly likely to be proven incorrect! One trend which I would feel comfortable about betting on the importance of is AI, and specifically AI-generated images, which are already being put to use by big brands and producers. It’s an exciting area, and is moving incredibly quickly, as technology develops and people find new and often unexpected uses for it.

This pace of change can be daunting, but I’d encourage anyone to have a go, whether you’re a creative person or not. Midjourney is a good piece of software to start with, and you can quite quickly generate some mind-bending images with only a few words as a prompt.

AI-generated imagery has already reached the level of sophistication where it is being used in real world projects. For example, high end fashion brand Moncler recently released a conceptual fashion campaign made using AI-generated images. More controversially, Netflix anime Dog and Boy features AI-generated backgrounds. This practise has generated complaints that artists’ livelihoods are threatened.

And you feel there are real-world uses for the licensing industry?
Yes, the possibilities for AI-generated imagery to benefit the licensing industry are wide-ranging. They include AI-generated product, retail and experiential concepts, social and even ad campaigns, as well as brand assets. And there is huge scope for brands to engage with their fans through collaborative AI-generated campaigns – in much the same way that TikTok has allowed music fans to incorporate their favourite songs into their own content.

There are risks and hurdles to overcome, so some caution is necessary. These include a lack of clarity around copyright, and a risk of fans getting ahead of brands with their own AI-generated collab concepts. This happened recently with the launch of the Nike x Tiffany & Co collab.

Have you been exploring the use of AI-generated imagery in your own work?
You bet! So far this has included a set of slightly satirical healthcare-themed toy concepts which were released at the start of Toy Fair. The high level of finish and often unexpected creations make AI images a great solution for product concepts.

They also make personalisation of images and text a possibility, which I made use of in last year’s Sharp Sharp Christmas e-cards. These featured AI-generated imagery plus personalised Christmas cracker-style jokes which I created using a ChatGPT-style AI.

I’d love to hear from anyone who is interested in collaborating or commissioning work in this area, as the possibilities continue to unfold.

I noticed that you have done a lot of work for brand owners around exhibitions and designing trade show stands. What makes a good tradeshow stand do you think?
Stands which have a buzz and which delegates want to visit are not easy to achieve on a crowded tradeshow floor. A hook always helps, this could take the form of a central exhibit, a celebrity event or even some food and drink. Innovative video content can provide a strong hook, as the technology is developing so fast… Look up augmented reality, holographic projections and naked-eye 3D LED displays for starters!

The Moomins stand at BLE comes to mind as a strong example of immersing visitors in the brand.

When it comes to the graphics – my speciality – I try to achieve impact and clarity when the stand is viewed from a distance, as well as design elements or physical objects – such as products – which engage people who are close to or on the stand.

You mentioned celebrities being a potential hook, and you’ve worked with media personality Jo Frost – aka Super Nanny. What are the challenges you face when working with a ‘real person’ in regards to design and brand development?
I’ve worked on licensing and marketing projects for a number of personality-based brands and shows, ranging from Jamie Oliver and Nigella Lawson to Supernanny Jo Frost and the Keith Lemon-led Celebrity Juice.

The creative challenges in working with a real person could include them not being supportive of your campaign, product or design. Of course – naming no names! – there is always a reputational risk if the person does something which goes against the values of your business.

While legal agreements have their part to play, I believe that bringing the person with you in the creative journey as much as possible is key. Show that you care about and understand their content, interests and causes. Try to discuss ideas with them at an early stage, get their input in a meaningful way and you are less likely to get unwanted reactions further down the line. Their input will likely make for a stronger end result. Above be mindful that they are a human being, with preferred way of working, and often very limited availability.

What’s your creative process like when working on personality brands?
In order to bring out their personality within a campaign or product, I aim to conduct a ‘brand DNA’ session at the outset, either with the personality or someone who fully understands their brand. Look at what the fans are saying, any art they are producing and try to avoid their wrath! This is a chance to gather insights as well as to understand something about them as a person.

I then focus on one key insight or aspect of the person to inspire each creative concept. The details are vital – design can reflect the personality in many ways, from using colours they might wear, a style of typography or drawing they favour or copy which reflects their voice.

You’ve also been involved with the Strange Hill High brand, which boasts a very original and distinct design style. When creating style guides and design materials for brands like this, how far can you push the design envelope?
I’m glad you mentioned Strange Hill High. Being involved was a highlight of my time working at Fremantle, with Josh Weinstein of The Simpsons as showrunner and the hugely talented team of craftspeople involved, some of whom had worked on Wes Anderson’s Fantastic Mr Fox.

The level of creativity, craft and quirkiness meant that the challenge was in maintaining these high standards within the style guide, rather than trying to make something with limited assets – as is often the case.

If you position the brand correctly at as early a stage as possible, then there shouldn’t be any major misalignments between the brand and the market. In this case, CBBC conducted audience testing of the show. Insights from this helped us to understand what the young audience wanted, and this all fed into the brand and design.

There were later discussions on the licensing side about target ages and whether it should be purely boy-focused brand or to aim for a more mixed appeal. Because the positioning work had been done up front, the decisions broadly followed the audience profile of the show and matched those of the overall brand.

At Sharp Sharp, we conduct brand positioning work and design research to ensure that our creative is effective – as well as visually striking. We aim to get involved at as early a stage as possible in the development process. For the Yakka Dee! style guide development, we were able to collaborate closely with the show’s creators and its art director. Again, this helped to ensure that the end result matched their vision and would appeal to the young audience.

How do you think brands can stay authentic when entering the licensing marketplace?
Listen to the brand’s fans and don’t go for the quick buck! It’s easy to go downmarket with a brand but very difficult to make it more premium. Creatives need to really get under the skin of the brand. Then they can express it in unexpected ways and with well-crafted details.

Thinking of the toy category, have you seen any new designs that you think stand out?
I’m a big fan of the LEGO Super Mario range, especially the way it bridges the physical/digital divide. The recent LEGO Super Mario 64 Question Mark Block is another fun iteration of this, it’s on my Christmas list already! I also love the Wallace & Gromit Rocket kit from Paper Engine. It will keep kids engaged for a long time and it’s great to see that it’s plastic-free – a rarity for toys for bigger kids.

And while 3D printing has yet to make a major impact on mass-market toys, it’s interesting to see that LEGO have been experimenting with it with their duck – it’s only available at The LEGO House for now…

Finally, if you could arrange a dinner party with three designers or brand owners, who would you pick and why?
Great question! I spent way to long thinking about this! I’ve gone for one designer and two brand owners, to keep things even around the table once I’m included!

I’m going to bend the rules a little for my choice of designer and will go for artist Jeremy Deller. I’m including him because I’m convinced there’s a graphic designer inside him fighting to get out! I love the way his work is so expansive, from his inflatable Stone Henge to music – does anyone remember the Acid Brass project? – to more graphic artworks such as his ‘Strong and Stable My Arse’ poster.

My first brand is Nintendo, represented by Shigeru Miyamoto – a huge creative force behind the company, and creator of many of their games from Super Mario Bros onwards. I’d love to discover the secrets behind how he makes content which is so simple, joyful and un-putdownable.

And my second brand would be Aardman. I’d choose their filmmaker Nick Park to represent them. It would be a chance to hear about the incredible level of craft that goes into their work and how they’ve translated this into a successful brand licensing business.

Great picks. Steve, a huge thanks again for taking time out for this.

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