“They’ve made me better at what I do”: Hasbro’s Demi Patel on her relationships with creative agencies

Demi! It’s great to catch up. Before we look ahead, what have been some recent highlights for you and Hasbro?
There were so many, but the arrival of Peppa Pig’s baby sister Evie has to be right up there. I spent the best part of two years working closely with the team to help bring her to life, which was incredibly special.

My role is quite hybrid, and I get to work with the teams across Brand Franchise, Entertainment and Toy. This meant I was involved in shaping everything from her character design down to details like her outfit, her bow, and even her name, through to the evolution of the new house environment and the design of Evie’s nursery.

A key part of my role is ensuring we remain commercially sensitive while staying true to the heart of the brand. Yes, we’re in the business of making toys, but storytelling with integrity is fundamental. Peppa is such a special part of children’s lives – often their first best friend – so it was essential that these changes felt natural, reassuring and true to our families.

And there must have been a lot of pressure to get those calls right?
Definitely – but in the best way. It’s been such an exciting journey. From working closely with our incredibly talented Entertainment team through to design development and building out creative with our agency partners, it’s been a real privilege to be part of this next evolution of Peppa Pig.

What helps keep you creatively energised when working on the brand?
I have a genuine emotional connection to Peppa. I have two boys, they’re older now but before I joined Hasbro, Peppa Pig really was my third child. I saw first-hand how much she meant to them. If they were ever upset, Peppa could instantly lift their mood, so to now work on the brand is something I feel incredibly lucky to do – it’s a real privilege.

I’m also constantly energised by seeing how families respond to meaningful storytelling. As you may have seen, we recently announced that Peppa’s younger brother, George, is moderately deaf. This storyline has had such a positive, real-world impact on children’s lives. That kind of representation is incredibly powerful, and it’s what drives me to bring those stories to life through thoughtful, compelling consumer products.

Absolutely. Now, you’re a huge champion of the industry’s creative agency community. What’s the key to positive relationships between licensors and creative partners?
I genuinely see our agencies as an extension of my team. Over the years, I’ve built long-standing relationships with many of them, some spanning over 20 years and there’s a real sense of trust and continuity in that. At the same time, I’ve also formed brilliant new relationships since joining Hasbro, quickly building strong rapport and shared ways of working.

For me, it’s about true partnership. Yes, agencies are providing a service, but ultimately, we’re working towards the same goal. We get the best results when we’re fully invested together and when the process is collaborative and enjoyable. I spend a lot of time working closely with our partners, often as much as I do with internal teams, and I have huge respect for what they bring. They’re incredibly talented, and I’ve learned so much from them – they’ve genuinely made me better at what I do.

Trust is also key. My briefs are often complex and challenging, so I need to know that whoever I’m working with will lean into that with me. Sometimes that simply means picking up the phone and working through a problem together and that’s something I really value and take pride in.

You mention briefs there, what is your approach to crafting effective ones?
My briefs are probably some of the most detailed you’ll receive, but that’s entirely intentional. Once I’ve gathered all the relevant information, research and supporting assets – often through early conversations with internal teams and partners – I focus on building a clear, structured brief.

Clarity is key. Agencies need to be able to unpick exactly what’s required, so I make sure the objective, success criteria, deliverables, timelines and budget are all clearly defined. We also build in structured check-ins throughout the process to stay aligned and maintain momentum.

Ultimately, a strong brief sets the foundation for everything that follows and without it, things can quickly become unclear or inefficient.

You said about some of your agency connections spanning 20 years, and other being more recent. How important is it to engage with new agencies?
It’s hugely important. While I absolutely value my trusted partners, I also think it’s essential to stay open to new talent and fresh perspectives. Every agency brings something different. While many can work across disciplines, they often have particular strengths – whether that’s illustration, graphic design or fashion-led thinking. It’s about pairing the right partner with the right brief.

I also make a conscious effort to stay connected to the wider creative community. Industry events, initiatives like Not Just Colouring In, and platforms like Brands Untapped are incredibly valuable for discovering new voices and building relationships.

Could you share an example of discovering new creative talent – and how it benefitted a Hasbro brand?
A great example is when I was working on My Little Pony’s retro segment. I came across an artist and superfan, Samantha Whitten, through some historical publishing work – and I was immediately drawn to her unique and beautifully detailed style.

When I reached out, she shared that she would need a more flexible working pace, meaning the project would take longer than our usual timelines. For me, that wasn’t a barrier – it was an opportunity. I wanted to support that process and give her the space to create something truly special, so I managed expectations internally to allow for that.

What she delivered was incredible – a genuinely authentic, fan-driven asset pack that resonated immediately, particularly in Asia. In fact, it played a key role in unlocking the retro business in that market in a meaningful way. We’ve continued working together since, including on G4 Friendship is Magic and other projects. It’s a great reminder of the value in seeking out new talent and embracing different ways of working.

Fantastic. And looking internally for a moment, what’s the key to strong collaborations between creative and commercial teams in-house?
For me, creative and commercial teams need to work in lockstep – it’s the only way to truly succeed. From identifying partnership opportunities through to developing pitch creative, collaboration needs to happen from the very beginning. Creative input is essential in shaping how we go to market and how we tell the story. Of course, each team has its own focus, but the strength comes from alignment. When both teams are fully connected, the output is always stronger.

A great example is the Play-Doh x Pantone collaboration. It was a complex and ambitious project, but working closely with Franchise and Commercial teams throughout has allowed us to navigate challenges together and deliver something truly special for the brand.

Yes, that was a terrific collaboration! I realise we’ve not delved into your origin story yet! So how did you get into licensing?
I studied Graphic Design, but I didn’t set out with a clear path into licensing. I started at Carlton TV, which then led to an opportunity at ITV Studios and that’s where my journey in licensing began. From the outset, I was always drawn to more than just design execution. I was interested in the bigger picture: art direction, ideation, and bringing concepts to life across multiple consumer touchpoints.

I was fortunate to work in highly collaborative environments where creative and commercial teams worked closely together, and that really shaped my approach. It’s something I’ve carried with me throughout my career.

“My briefs are probably some of the most detailed you’ll receive.”

Before we wrap up, what fuels your creativity?
I love this question and I always enjoy reading how others answer it! For me, it’s less about one specific outlet and more about how I absorb the world around me. I’m constantly observing, thinking and connecting ideas – often in everyday moments. Whether I’m cooking, exercising, watching something, or simply taking a pause, ideas tend to emerge in those quieter, in-between spaces. I think of myself as a bit of a sponge, always taking things in and letting them process naturally.

Great answer. Last question – is there a Hasbro brand you’d love to explore further when it comes to creative and consumer products?
There are a few – we’re incredibly lucky to have such a diverse and iconic portfolio. I’d love to continue unlocking more of our retro brands, particularly Jem and the Holograms. We’re already doing some incredible work within our music business, but there’s definitely further opportunity across consumer products.

Blythe is another standout. She’s a cross-generational, globally recognised fashion icon – equal parts nostalgia and next-generation cool. In Asia, she’s become a cultural muse, appearing in high-profile editorials and inspiring fashion and beauty collaborations. I’d love to explore how we can expand that success into other markets.

We’ll keep an eye out! Demi, always lovely to chat. Thanks again for making time.