The Bugg Report Magazine — Edition 51

BRAND LICENSING EUROPE

Brand Licensing Europe (BLE) once again converges on Excel London as the doors open on Tuesday, October 7th and run through Thursday, October 9th. BLE is a staple fixture on the annual trade show calendar, offering a comprehensive look at the world of brand extension and licensing. Attendees can expect a dynamic schedule, including insightful discussions at the License Global Theatre, engaging Networking Happy Hours, and the exclusive Retail Lounge cared for by Care Bears . This dedicated space provides a quiet retreat for retail badge holders to host meetings and network, complementing the show floors energy. The Character Parade is also feature of the event.

In this issue, we lead with Brand Licensing Group: Bringing the World’s Best Brands to Australian Retail, highlighting how BLG is connecting global brands with local retailers through strategic partnerships and premium licensed products.

We also celebrate a national milestone with ABC’s 60 Years of Play School, reflecting on the enduring influence of one of Australia’s most beloved children’s programs. Internationally, Authentic Brands Group shares insights from 15 Years of Growth across the EMEAI region, while VR Distribution embarks on a new chapter, rebranding as Asmodee in Australia.

The Australian Toy Association provides a comprehensive update, including this year’s hottest toys, AGM outcomes and the Toy Fair countdown. Wide Eyes News offers a timely perspective from the ACCS, and our New Age of Digital feature explores the ongoing transformation of supply chains through technology.

We delve into market trends with Licensing is King — an in-depth look at the dominance of licensed toys in the UK — and According to Downsey, which captures a fresh outlook on the new licensing season. Meanwhile, The Toy Association™ outlines its vision for shaping the future of play in New York City, and WeCool Toys reveals a new retail display concept in Abu Dhabi.

This issue also pays tribute to Fred Gaffney, a pioneer of Australian licensing, as he marks his 80th year, alongside thought leadership pieces such as The Evolution of Advertising and AI by Dean Salakas and The Magic of Licensing by Craig Stokley.

Additional features include Whatever Happened to Business Built on Relationships?, The French Toy Market — The ‘Kidult’ Phenomenon, and The Intrigue of the Star Wars Franchise by Aaron Tompkins. Our Roaming Redders video series with John Redenbach continues to capture insights from industry leaders.

To close, we spotlight major brand developments — from Kellogg’s launching protein-enhanced cereals and Bluey expanding its global licensing program, to BrandTrends unveiling its new visual identity.

Together, these stories underscore a dynamic industry defined by innovation, strategic growth and enduring consumer connection.

We hope you enjoy this edition of The Bugg Report Magazine!

Managing Director — Tony Bugg tony@buggsolutions.com.au

Editor & Designer — Matthew Bugg matt@buggsolutions.com.au Published by Bugg Marketing Solutions info@buggsolutions.com.au PO BOX 491, Berwick VIC 3806

INSIDE THIS EDITION

WELCOME TO EDITION 51

BRAND LICENSING GROUP: BRINGING THE WORLD’S BEST BRANDS TO AUSTRALIAN RETAIL

LET’S PLAY! ABC CELEBRATES 60 YEARS OF PLAY SCHOOL

15 YEARS OF GROWTH: AUTHENTIC’S STRATEGY AND EXPANSION IN EMEAI

VR DISTRIBUTION LEVELS UP — NOW PLAYING AS ASMODEE IN AUSTRALIA

AUSTRALIAN TOY ASSOCIATION — HOTTEST TOYS, AGM AND TOY FAIR COUNTDOWN!

WIDE EYES NEWS FROM THE TUBE — WIDE EYES VIEW FROM THE ACCS

THE NEW AGE OF DIGITAL — DIGITAL TRANSFORMATION IN SUPPLY CHAINS

LICENSING IS KING — WHY LICENSED TOYS ARE DOMINATING THE UK MARKET

ACCORDING TO DOWNSEY — A NEW SEASON FOR LICENSING

THE TOY ASSOCIATION™ — SHAPING THE FUTURE OF PLAY IN NEW YORK CITY

WECOOL TOYS UNVEILS NEW RETAIL DISPLAY IN ABU DHABI

FRED GAFFNEY: PIONEER OF AUSTRALIAN LICENSING TURNS 80

STAY TUNED TO THE EVOLUTION OF ADVERTISING AND AI BY DEAN SALAKAS

WHATEVER HAPPENED TO BUSINESS BUILT ON RELATIONSHIPS?

THE MAGIC OF LICENSING AS WRITTEN BY CRAIG STOKLEY

THE FRENCH TOY MARKET — THE 'KIDULT' PHENOMENON

THE INTRIGUE OF THE STAR WARS FRANCHISE BY AARON TOMPKINS

ROAMING REDDERS BY JOHN REDENBACH — VIDEO INTERVIEW SERIES BY JOHN REDENBACH

AUSTRALIA’S FAVOURITE KELLOGG’S CEREALS GET A PROTEIN-PACKED SHAKE-UP

BLUEY EXPANDS LICENSING TO DELIGHT FANS OF ALL AGES AROUND THE WORLD

BRANDTRENDS INTRODUCES A NEW VISUAL IDENTITY

BRAND LICENSING GROUP

BRINGING THE WORLD’S BEST BRANDS TO AUSTRALIAN RETAIL www.thebrandlicensinggroup.com.au

Brand Licensing Group

Bringing the World’s Best Brands to Australian Retail

BLG COMBINES GLOBAL LICENSING EXPERTISE WITH DEEP INSIGHT INTO AUSTRALIAN RETAIL

Founded in 2022 and proudly based in Mornington, Victoria, Brand Licensing Group (BLG) has quickly established itself as a premier wholesale destination for licensed merchandise in Australia. The company was created with one clear vision: to connect world-class brands with Australian retailers through high-quality products, competitive value, and strong partnerships.

As a locally owned and operated business, BLG offers a unique blend of international licensing expertise with a deep understanding of the Australian retail landscape. Its agility and entrepreneurial spirit allow the company to move quickly, seize opportunities, and deliver tailored solutions for retail partners.

BUILDING BRANDS INTO EVERYDAY LIFE

BLG partners with a wide range of iconic brands — from AFL, NRL, Cricket Australia and Holden to global entertainment powerhouses like Disney, Warner Bros., LEGO, Sanrio, and Ford. Each license reflects the company’s belief that great brands have the power to inspire, entertain, and unite fans across categories.

Whether it’s a parent buying a backpack for their child, a collector adding to their Hot Wheels showcase, or a fan celebrating their favourite franchise, BLG ensures that licensed products are part of everyday Australian life.

LEGO licensed lifestyle products bring playful design into everyday living.

SELECTIVE PARTNERSHIPS, LASTING IMPACT

With a portfolio spanning pet products, auto accessories, travel, barware, and gifting, BLG is helping retailers expand their assortments with merchandise that customers connect with instantly. The company does not aim to flood the market; instead, it carefully selects partners and categories where brand and product innovation will resonate most.

BLG has also begun to expand into the toy category, aspiring to become a recognised name within the licensed toy space through thoughtful partnerships and strategic retail placement.

This approach has enabled BLG to build trust-based relationships with licensors and retailers alike. The Group’s commitment to quality, competitive pricing, and strong retail service makes it a reliable partner in a sector where brand integrity and customer satisfaction are paramount.

Hot Wheels collector merchandise showcases how licensing taps into fan culture and passion.

EXPANDING HORIZONS

In 2024, BLG secured an exclusive Australian distribution partnership with LEGO — a significant milestone that underscores its growing reputation as a trusted brand licensing partner. The Group also signed an exclusive Australian distribution deal with Phidal Publishing, a global leader in licensed book and educational products. These strategic relationships open new doors with retailers across multiple categories and channels, broadening BLG’s reach well beyond traditional merchandise.

Looking ahead, the Group is actively pursuing further exclusive partnerships and exploring opportunities in sustainability-driven products, digital brand extensions, and direct-to-consumer collaborations. This ambition ensures BLG remains at the forefront of the licensing sector in Australia.

POSITIONING STATEMENT

For Australian retailers seeking differentiated merchandise who want credible licensed brands combined with strong margins and supply reliability, Brand Licensing Group is the wholesale licensing partner that delivers premium, innovative licensed goods at competitive pricing, because we are an official license partner to high-value global and local brands and we maintain strict standards of product quality, brand alignment, and service to our retail partners.

LOOKING AHEAD

As a young but ambitious company, Brand Licensing Group is committed to building long-term value for retailers, licensors, and consumers alike. With a growing portfolio of licenses and categories, the Group’s focus is on innovation, authenticity, and service — ensuring that Australia’s retail shelves continue to reflect the brands people love most.

Over the next five years, BLG aims to broaden its product mix across fashion, publishing, and homewares, strengthen its presence with exclusive brand collaborations and distribution partnerships, position itself as a leader in sustainable licensed products, continue building enduring partnerships with licensors and retail leaders across the country, and secure additional high-profile distribution arrangements that expand its portfolio and cement its role as a key player in the licensed merchandise industry.

CONCLUSION

Brand Licensing Group is more than a wholesaler — it is a bridge between global brands and Australian consumers. Through careful selection, premium product development, and strong market partnerships, BLG is carving out its place as a leader in the evolving world of brand licensing.

This is only the beginning — and with its growing reputation, BLG is set to play an ever more important role in shaping Australia’s licensed merchandise landscape.

60 YEARS OF PLAY SCHOOL

dethame.wendy@abc.net.au

Let’s Play! ABC Celebrates 60 Years of Play School with New Partnerships, Products, and Big Birthday Fun in 2026

A NATIONAL TREASURE TURNS 60: CELEBRATING GENERATIONS OF PLAY SCHOOL FUN

For six decades, Play School has been a cherished part of growing up in Australia. Since its first broadcast on the ABC in 1966, this much-loved program has inspired generations of children with its unique mix of creativity, learning and good old-fashioned fun.

In 2026, Play School turns 60 and what better way to celebrate than with a yearlong party full of exciting partnerships, playful products and nationwide activations that honour its special place in the hearts of Aussie families.

This milestone marks one of the ABC Commercial’s biggest licensing programs to date blending nostalgia with innovation to make sure Play School continues to connect with today’s little learners (and the grownups who grew up with Big Ted and Jemima too).

Come Play With Us

ABC Commercial warmly welcomes expressions of interest from businesses looking to explore partnership opportunities across its vibrant portfolio of brands including Play School, Muster Dogs, triple j, Gardening Australia and more. Whether you’re a licensee, retailer, or creative collaborator, we’d love to hear from you.

“The ABC reaches more Australians than any other broadcaster across every age group, interest and corner of the country. Our brands are part of everyday life, and that gives our valued partners a unique platform to connect meaningfully with audiences. The success of our collaborations with Australia Post, Scholastic, Jasnor, Goldie + Ace and Tara Treasures shows the strength and potential of our licensing programs. We’re excited to build on that with new partners across entertainment, factual and lifestyle properties.”

— Wendy De Thame, Licensing Manager, ABC Commercial

Let’s build something wonderful together for today’s families, and tomorrow’s dreamers.

Windows of Opportunity: New Products, Fresh Partnerships

The birthday celebrations kick off with a special partnership between ABC and Australia Post. The collaboration will launch a vibrant ‘Back to School’ range designed with new licensee Ultimatum featuring art smocks, lunch bags, puzzles and more. All the essentials reimagined with Play School’s signature sparkle.

A growing team of new and returning licensees will help bring the magic to life throughout 2026. Long-time partners Jasnor and Scholastic are back with fresh ideas and fan favourites. Jasnor will unveil a brand new plush toy collection, giving beloved characters like Humpty and Little Ted a snuggly, high-quality refresh. Scholastic will expand its popular publishing line, rolling out new concept and novelty titles to delight readers of all ages.

Retail powerhouse Big W will continue to support Scholastic’s range, ensuring wide availability and strong national presence for this joyful anniversary collection.

Exciting news for fans of all ages Play School fashion is on the way! A brandnew apparel licensee will launch clothing for babies, toddlers, and even nostalgic adults. It's a fun way for parents and caregivers to share the joy of Play School with the next generation and maybe rock a piece of their childhood while they’re at it.

Adding a little designer flair to the mix, Melbourne based label Goldie + Ace joins the program with a retro-inspired kidswear range that celebrates Play School’s rich visual heritage.

Also jumping in is Tara Treasures, known for their beautifully handcrafted felt toys and play mats. Their new Play School range will bring handson creativity into family homes no screens needed.

More Than a Show: A MultiPlatform Celebration

Of course, the party doesn’t stop at products. A whole year of celebrations is planned across the ABC network and ABC Commercial in 2026.

Expect new screen content, special moments, and a brand new Play School live show touring the country so families can sing, dance and celebrate together in person.

To bring the program’s legacy into its next chapter, Play School will also launch updated packaging and style guides created by Steph Mystek and the talented team at MyDesign

“Reimagining the packaging for one of Australia’s most iconic children’s brands was such a privilege,” said Steph. “We wanted to keep it simple, bold, and full of heart. We brought back the signature windows and layered in craft textures to give everything that playful, handmade Play School feeling.”

Muster Dogs: A New Favourite in the Kennel

While Play School may be the birthday star, another ABC Commercial property is quickly becoming a standout licensing success.

Muster Dogs continues to win hearts and awards including a recent Logie recognising its broad appeal. After launching its first retail program with CRT in 2024 (featuring books, plush toys, hats and even pet gear), the brand is ready for its next big leap.

ABC Commercial is now opening up partnership opportunities through expressions of interest from licensees and retailers looking to join this wholesome, uniquely Australian property that is dominating audience engagement in metro and regional demographics. With its blend of education, entertainment and heartfelt storytelling, Muster Dogs is an emerging brand with enormous potential across multiple categories with a committed local and international broadcast schedule into 2027 and beyond.

Explore the ABC’s Brand Playground

From nostalgic favourites to contemporary crowd pleasers, ABC Commercial’s licensing portfolio is packed with rich opportunities for businesses to engage with deeply loved brands.

Alongside Play School and Muster Dogs, ABC Commercial continues to grow and evolve its offerings welcoming new partners to collaborate across a wide array of genres, audiences, and formats.

Whether it’s the evergreen charm of Bananas in Pyjamas, the trusted voice of ABC Kids, the green thumbs of Gardening Australia, the sharp wit of Hard Quiz, or the cultural pulse of triple j there’s a brand for every audience and every market.

And with a pipeline of fresh content bubbling up, there’s always something new on the horizon.

For licensing opportunities please reach out to Wendy de Thame, ABC Licensing Manager via email at dethame.wendy@abc.net.au

15 Years of Growth: Authentic’s Strategy and Expansion in EMEAI

15 years. 50+ brands. $32 billion in annual global systemwide retail sales. Authentic has built a world-class portfolio spanning lifestyle, sports, media and entertainment. In Europe, the Middle East, Africa and India (EMEAI), the company leverages strategic partnerships, local expertise and global storytelling to connect with consumers. Corey Salter, President of Entertainment and International, and Henry Stupp, President of EMEAI, share the strategy, milestones and vision that have fueled Authentic’s remarkable expansion across the region.

COREY SALTER

President of Entertainment and International

Authentic is celebrating 15 years in business and has experienced remarkable growth over that time. Can you tell our readers about the model?

Authentic is the world’s leading owner of sports, lifestyle and entertainment IP. Our model is simple but powerful. We acquire iconic brands and reposition them for long-term growth through licensing. We partner with best-in-

class brand operators who excel at design, wholesale, digital, marketing and retail. Our teams focus on global storytelling and marketing that bring each brand to life. It’s a formula that’s scaled globally and driven sustainable growth.

What strategies and approaches have made Authentic successful?

Our success comes from a clear strategy and the discipline to stick with it. The Authentic model is digitally driven and culturally focused from the ground up. We

think like a startup—fast, creative and always connected to the consumer. We approach brand building by using data and social platforms to engage more than 700 million followers and keep our brands relevant in every market.

Equally important is the strength of our business relationships. We focus on long-term, strategic retail partnerships and distribution strategies that meet customers where they are, whether that’s in stores, online or across emerging digital channels. That focus on the right partners, combined with

Business Growth

and Key Global Milestones

the right distribution, ensures our brands are always accessible and always connected to today’s consumer.

Partnerships have been central to Authentic’s growth. What qualities do you look for in a strong partner?

At Authentic, it’s our job to match each brand with the partners and markets where it can truly thrive. But it’s more than what looks good on paper. We work with leaders in their categories and territories, partners who know their markets inside out and understand how

to bring our brands to life. That expertise allows them to translate our vision for new audiences. Without shared investment, commitment and trust on both sides, a partnership won’t work. It’s this combination of strategic fit and mutual expertise that ensures long-term growth and shared value.

Authentic is partnered with some of the most iconic personalities in sports, entertainment and culture. How do you keep those names and legacies relevant?

The Authentic model is digitally driven and culturally focused from the ground up.

- Corey Salter

Endorsements have always been part of how celebrities connect with consumers. What we do is take that a step further by aligning them with the right brands and building thoughtful merchandise programs that extend their reach worldwide. Beyond products, we tap into our Authentic Studios division to produce long-form content, streaming projects and experiences that bring their stories to life in new ways. Together, those strategies keep our icons at the center of culture.

Authentic brought Sports Illustrated into the portfolio in 2019, marking a major move into media and culture. What was your vision for SI at the time, and how has the brand evolved since then?

2014 Airwalk brings sports and outdoor culture to Authentic

The brand’s fusion of street style and outdoor performance expands Authentic’s portfolio in active lifestyle markets.

Shaquille O’Neal joins as a partner and shareholder, setting the stage for future growth.

The acquisition marks a major move into specialty retail brands.

Hervé Léger elevates the Authentic portfolio

The premium fashion brand renowned for its iconic bandage dresses joins the portfolio.

2018 Nautica adds global scale

The heritage lifestyle brand with global reach reinforces Authentic’s strength in lifestyle fashion.

Corey Salter and Henry Stupp speak on a panel moderated by Jill Dvorak during NRF ‘25 Retail’s Big Show Europe

When we set up our EMEAI headquarters, the vision was clear: create a hub that connects our iconic brands to local markets with precision and authenticity.

- Henry Stupp

Our vision was always to take Sports Illustrated beyond the page and build it into a 360° brand. Sports Illustrated remains the most trusted name in sports journalism, but the brand has evolved into much more than a magazine. Today, it spans events and experiences, consumer products, photography and archives, even hospitality—have you seen the SI Stadium? Each of these extensions builds on the authority of the magazine and makes the brand more relevant than ever before.

HENRY STUPP President of EMEAI

Authentic officially established its EMEAI HQ in 2022 after partnering with David Beckham to grow his brand. Tell us about Authentic’s vision and how it has grown.

When we set up our EMEAI headquarters, the vision was clear: create a hub that connects our iconic brands to local markets with precision and authenticity. What began as a team of three has grown to more than 80, each bringing unique expertise and local knowledge. Today, our brands generate over $4 billion in annual retail sales and operate more than 4,600 stores and

shop-in-shops across the region.

The real strength lies in how our teams weave global strategy into local culture. They build tailored playbooks, form strategic partnerships and bring the insight that only comes from being on the ground. In many ways, our team is a bridge—connecting the power of Authentic’s global portfolio with the nuance and creativity of local markets, ensuring our brands don’t just arrive, they belong.

Where do you see the greatest opportunities for Authentic’s brands within the Europe and India markets?

Europe and India represent opportunity in very different ways. In Europe, it’s about depth—taking

brands with strong heritage and weaving them more tightly into the fabric of local culture. Consumers value the in-store experience, creating a powerful platform for tailored assortments, experiential retail and storytelling that feels native to each market.

India, by contrast, is about scale and momentum. A young, digitally connected population is fueling demand for global brands, and by investing in supply chains, retail partnerships and digital strategies, we can reach millions of new consumers in ways that feel both accessible and personal.

So while Europe is about deepening roots, India is about planting new ones—and in both cases, the opportunity is to ensure our brands don’t just enter markets, they become part of them.

What are some brands that resonate most with consumers in the regions you oversee?

Many brands stand out for the way they resonate with consumers across EMEAI. The Boardriders

brand portfolio, including Quiksilver, Billabong, Roxy, RVCA, Element, DC Shoes, Volcom and Honolua is a prime example. Acquiring Boardriders was the second largest transaction in Authentic’s history, and it brought with it not just great brands, but a global ecosystem of culture and community. These are brands that live on beaches, in skateparks and in cities around the world, and they continue to connect through the athletes and communities that define them. We’re also seeing strong resonance from lifestyle and fashion brands. Ted Baker remains deeply tied to its British heritage while presenting modern design that feels fresh and relevant. Hunter, with its iconic boots and outerwear, continues to be a staple across Europe and beyond, valued for its style and utility. Together, these brands show the range of our Lifestyle portfolio in EMEAI, from action sports to heritage fashion, and how each one is expanding in a way that feels both authentic and enduring.

How do you envision Authentic’s next phase of expansion and innovation in your regions?

Looking ahead, our focus is twofold: nurturing organic growth for the brands we own and welcoming new ones into the portfolio through thoughtful acquisitions. The key is partnership. By working with market leaders who know their territories inside and out, we can bring our brands to life in ways that feel locally relevant. We see opportunity in expanding the DTR channel, which allows us to deliver elevated branded experiences with more control over how the consumer engages. At the same time, we’re working closely with our partners to raise the bar on customer service and experiential retail because today’s consumers expect more than a transaction, they expect a connection. It’s this balance of global scale, local expertise and commerce that ensures our growth remains sustainable, relevant and strong.

www.corporate.authentic.com

Authentic acquires Dockers

The original khaki brand, Dockers, expands the portfolio’s casual

VR Distribution Levels Up Now Playing as asmodee In Australia

A GLOBAL TABLETOP GAME LEADER

Roll the dice, shuffle the deck and get ready for your next great tabletop adventure, VR Distribution has officially rebranded to asmodee in Australia. This milestone is the planned culmination of a brand transition that began after VR Distribution became part of the asmodee group in October 2022, aligning Australia with asmodee’s global rebranding.

A Global Tabletop Game Leader

asmodee is a world leader in entertainment, dedicated to telling incredible stories through great games, always inspired by players. With the mission to bring as many people as possible to the table, asmodee makes tabletop games more accessible and transforms play into an art form.

With 20 local distributors and a presence in over 100 countries, asmodee connects players worldwide to iconic tabletop game titles, innovative new releases and immersive game worlds. asmodee believes in the power of play to bring people together, spark creativity and create unforgettable memories.

From VR Distribution to asmodee Australia

Since joining asmodee in 2022, VR Distribution has continued to bring players together through unforgettable games and stories. Today’s rebrand unites Australia and New Zealand under a single, shared identity across studios, distributors and partners. It’s not just a new logo, it unlocks new possibilities for players and retailers alike.

Mark Rosser, Australian Country Manager of asmodee (previously VR Distribution) in Australia said about the rebrand,“This rebrand is more than just a name change, it’s a chance to unite our local community with a global group that lives and breathes games. As asmodee, we’re unlocking even bigger opportunities for Australian players and retailers, connecting them to the world’s most iconic titles, bold new releases and unforgettable experiences. At the heart of it, nothing changes, we’re still here for the players, but now with the strength, creativity and passion of a worldwide network behind us.”

Asmodee is a global leader in tabletop gaming. Inspired by players, asmodee has been crafting and taking to market immersive, shared experiences for over 30 years. Its portfolio includes beloved games and intellectual properties such as CATAN®, Ticket to Ride®, Dobble/Spot it!®, 7 Wonders, and Exploding Kittens®. Operationally headquartered in France, asmodee operates globally, making its games accessible to players in over 100 countries around the world. Asmodee group’s Class B shares are publicly traded on Nasdaq Stockholm under the ticker ASMDEE B.

From epic strategy challenges to laugh-out-loud party hits, asmodee will continue to bring you the best games from the best studios including CATAN Studio, Z-Man Games, Days of Wonder, Exploding Kittens, Fantasy Flight Games, Space Cowboys and many more. We’ll keep introducing fresh titles, fan-favourite expansions and exclusive experiences that let every player find their seat at the table.

asmodee also brings some of the world’s most legendary IPs to the tabletop. With partnerships spanning Disney, Marvel and more, asmodee transforms beloved universes into unforgettable board game experiences, inviting players to step into the worlds they love and become the heroes of their own story.

A stronger community, together

We’re here for the players, the fans, the dreamers and the strategists. You’re the hero of every story we help tell and together, we’ll create the next chapter. Whether you’re rolling dice for glory, puzzling your way to victory, or just here for fun, we’ve got the games (and the passion) to make every turn count.

So… are you ready to play?

AUSTRALIAN TOY ASSOCIATION

BY ALICE SANDERSON — EXECUTIVE MANAGER www.austoy.com.au

Hottest Toys, AGM and Toy Fair Countdown!

WE’VE NOW ENTERED THE FINAL QUARTER OF 2025

BUSIEST AND MOST EXCITING TIME OF THE YEAR FOR THE TOY INDUSTRY

The ATA is kicking things off with our Hottest Toys for Christmas event on 8th October in Melbourne. So far, we’ve secured strong media interest, with coverage confirmed from both morning shows and two national news channels.

Toys are always a hit with the media, and our members are always eager to showcase them— making this a perfect match. We’ll also have kids on hand to select their favourite “hot picks,” so if you’ve submitted products, be sure to watch for them either live on air or featured in our post-event wrap up.

Next month, we will be holding our Annual General Meeting, where members will have the opportunity to hear from both myself and ATA President, Jacqui Webster of Spin Master, as we reflect on the past year. All members are welcome to attend, either in person or virtually for those unable to join us on the day.

The AGM is also a valuable chance to connect directly with the ATA Board and Management. This year, elections will be held to fill three Board positions, with four nominees standing. Further details will be shared with the main contact for each member company in the coming weeks, so please keep an eye out for your chance to have a say in shaping the Board’s future direction.

Toy Fair planning for next year is in full swing and spaces are disappearing fast. With only a handful of stands still available, this is your last chance to secure a place if you want to exhibit. Sponsorship opportunities are also open, offering unparalleled ways to showcase your brand.

With the entire Australian industry and international guests in attendance, branding the Fair is an unmissable opportunity to put your business in front of the biggest audience of the year.

If you’re attending the Fair, registration opens in January, so keep an eye out!

For those travelling to Victoria, be sure to lock in your flights and accommodation early to secure the best deals. And with the Formula 1 Grand Prix taking place straight after the Fair, why not extend your stay and enjoy a weekend of racing excitement?

Retailers and attendees join the Fair for many reasons: sourcing from all the leading suppliers under one roof, networking with fellow industry professionals, supporting local creators and developers, discovering innovative products, and of course, enjoying the many events beyond the show floor.

On Sunday evening, we’ll once again host the industry Gala Dinner - a night to celebrate the people and products that make this industry such a dynamic and rewarding space. It’s also a chance to connect, unwind, and celebrate together.

Monday evening is dedicated to our prestigious 25 Year Club. This special event honors those who have dedicated 25 years or more to the industry, providing an opportunity to share memories, reconnect, and welcome the newest members to the club. It’s our way of saying thank you for the lasting impact you’ve had in shaping the industry here in Australia.

Our Women in Toys event will also return, now in a new timeslot on Wednesday morning before the final day of the Fair. Hosted once again by Anni Atkinson, Senior Category Manager—Toys, Publishing & FHB Global Consumer Products—ANZ at Warner Bros, the event will feature an incredible line-up of women sharing inspiring stories. Stay tuned as we announce our speakers in the weeks ahead.

The months ahead represent a pivotal time for our industry, bringing with them valuable opportunities to connect, collaborate, and celebrate. From the Hottest Toys for Christmas event and Annual General Meeting through to Toy Fair and its associated functions, the ATA is proud to continue providing members with platforms that strengthen our community and showcase the very best of our industry. We look forward to your participation and to sharing these important milestones with you.

"Toy Stories 3," endorsed by the Australian Toy Association, will chronicle the four-decade journey of the local Toy industry, starting from Milton Bradley's 1980s entry. This chronological, hardcover account follows two previous editions and will highlight key moments throughout the history of the Australian Toy Industry.

THE SPECIAL HARDCOVER BOOK IS SCHEDULED TO LAUNCH IN 2026

To learn more about the book visit: www.buggsolutions.com.au/books

This unique coffee table book will be released as a

COLUMN

WIDE EYES NEWS FROM THE TUBE A REGULAR COLUMN BY A LEADING INDUSTRY EXPERT

WIDE EYES VIEW FROM THE ACCS

Wide Eyes News from the Tube

WIDE EYES VIEW FROM THE ACCS

The Australian Children’s Content Summit (ACCS) is over for another year and these were some of Wide Eye’s observations:

This was the 3rd year of the ACCS and all the major funding partners of children’s TV production in Australia were in attendance – ABC TV, NITV, Screen Australia, Australian Children’s Television Foundation and all the State Funding organisations from NSW, Qld, SA, Tas, NT, Vic & WA.

In contrast, the commercial Australian TV broadcasters Seven, Ten, and the American children’s broadcasters Cartoon Network, Disney & Nickelodeon were not to be seen anywhere and Channel 9 had just the one person from their Queensland office who came with no money but has an empty studio up the road in Brisbane for hire – empty because along with Seven & Ten, Australia’s three commercial TV broadcasters no longer make Australian children’s shows for Australian kids.

But YouTube was there, with Sabine Zonderland, Head Content APAC, being front & centre, cementing YouTube's place as Australia’s alternative free to air children’s broadcast platform to the ABC with their ABC Kids & Family channels and ABC iView.

In just two short years at ACCS, YouTube has gone from being a marketing after thought for the Australian producers of traditional long form TV shows for children, to being one of the two main free to air outlets for their shows.

And not only was the YouTube channel in the room, but so were many of the Australian YouTube creators & operators of YouTube children’s channels, both onstage giving presentations and in the audience sitting equally alongside other children’s TV producers of Australian content.

It was refreshing to see a panel of the heavyweights of Australian children’s TV production – peak industry body Screen Producers Australia (SPA) along with Cheeky Little Media, Flying Bark, Shiff Productions & event organiser SLR Productions - turn their focus on how making shows for YouTube first broadcast can equally qualify for the government funding opportunities currently applying to shows once made for the free to air commercial broadcasters in Australia.

I believe the next 12 months will see significant progress towards improving the clarification of Federal Government funding through the

Screen Australia guidelines so shows being produced for YouTube first will, with a good level of certainty, receive the Federal government funding & rebates intended to promote the production of quality Australian children’s TV shows.

Other suggestions coming from Australian children’s TV producers to help the funding crisis facing the industry were, one: argue for an increase to the Federal Government offset rebate from its current 30% rate to a 40% rate which Australian feature films already receive, and, two; to regulate the ABC & NITV to pay higher licence fees for children’s TV content and, three; for the government to provide ongoing financial assistance to producers to

enable them to pay for the cost of ongoing content management that is essential on digital platforms once their programs have been launched.

Also in attendance at ACCS were a number of executives from international broadcasters including two public broadcasters; Kate Moreton from Children’s BBC and Marie McCann from CBC in Canada, along with Tyler Martin from ITV in the UK, Craig Hunter from Amazon Kids, Melissa Lim from Warner Bros Discovery and Christina Reynolds from Apple TV+.

There was also an action packed surprise visit from Moonbug UK, owners of Cocomelon, Blippi & many other children’s YouTube

YouTube has become a significant digital platform in Australia, acting as both a competitor and a complement to the ABC.

channels, who arrived with a clear plan to scoop up some music management rights from the owners of the major Australian children’s YouTube channels in attendance.

It was fascinating to watch the behind the scenes meetings going on between the three senior managers from Moonbug and the A-team of Aussie children’s YouTube channels including Bounce Patrol, The Mik Maks, The Wiggles, Lah-Lah, Ms Moni, Emma Memma and a number of others.

Time will tell if the Moonbug raid was successful or not but I do know that our Australian YouTubers are well aware of what they are doing and are also happy to hunt in a pack when it suits them – Moonbug will know they have been in an negotiation by the time this all plays out.

The highlight of this year’s ACCS, helped no doubt by the outstanding weather, was to see a little optimism from the battle-hardened, war-torn but resilient bunch of Australian children’s TV producers who are struggling through difficult times, seeing glimmers of green shoots with the emergence of YouTube being a genuine second broadcast platform to compete or complement with what the ABC continues to achieve in Australia.

PHOTO ABOVE LEFT TO RIGHT:

TINA HARRIS - LAH-LAH PRODUCTIONS, YOUTUBE EXPERT | EMMA WATKINS - ACCS HOST AND STAR | AVRILL STARK - CHILDREN'S TV PRODUCER - THE DEEP

Digital Transformation In Supply Chains FROM

EFFICIENCY TO RESILIENCE

For decades, supply chains were engineered for predictability— forecasting demand, forward planning and assuming the links between sourcing, production, and delivery would hold. Today, faced with increasingly unpredictable global events and shifting consumer expectations, the need is for supply chain solutions to be faster, smarter, and more agile.

Until now, digital transformations have largely been the domain of forward-thinking leadership. But as disruptions become the rule rather than the exception, digital transformation is not just a “strategic priority”; it is an operational necessity.

True transformation involves rethinking workflows and reimagining business models, and designing interconnected systems that can respond to volatility, optimise performance, reduce costs, and increase resilience.

From Machines to Mindsets

Go to any supply chain trade show and it is soon apparent that new technologies are reshaping not just what supply chains can do—but how they think.

• Autonomous robotics and AIpowered software have become the norm, handling repetitive tasks with speed and precision, reducing both cost and risk.

• Predictive maintenance, enabled by machine learning and the Internet of Things (IoT), minimising downtime and costs by extending asset life.

• Cloud-based collaboration platforms have broken down silos, facilitating better communication and coordination between suppliers, manufacturers, logistics providers, and customers.

These technologies offer powerful benefits, but it is their integration under a unified architecture and strategy, that is the heart of digital advantage: the latest tech designed into a smart system allowing companies to thrive amid ongoing disruption.

The Structural Friction of Change

Despite its obvious benefits, digital transformation in the supply chain has its challenges.

• Upfront cost remains a barrier, especially for smaller players, however as AI can rewrite code and customise software, it is opening the door to leaner, more scalable adoption.

• Legacy integration: bringing modern tools into aging infrastructure requires qualified and experienced people to manage the project to avoid damaging disruption, delays and cost overruns.

• Change resistance also plays a role. Fear of job displacement is common, but most organisations that automate develop a capability to scale with

increasing demand, and the opportunity to retrain staff into higher-value roles.

• Cybersecurity risks increase with greater connectivity of supply chain systems. Robust strategies are needed to protect data and infrastructure.

Overcoming these challenges requires more than financial investment. As autonomous mobile robots, digital twins, and AI-powered analytical tools continue to reshape supply chains, there is no option to “setand-forget”. In an increasingly uncertain and competitive global market, transformation is not a single technological shift but one that requires leadership and a clear digital strategy.

Digital Is the Infrastructure of Agility

As supply chain management becomes a continuous journey toward more connected systems that leverage the power of digital tools, it’s not just about smarter and faster—it’s about being ready for whatever comes next.

In an era where disruption is no longer the exception, having an efficient and robust supply chain infrastructure will be the make-or-break response. Those that embed digital capability at the core will not only recover faster— they’ll lead the next wave of growth.

BenjaminFenlonbringsablendof operationalexpertiseandtechnicalknowhowtotheevolvingworldoflogisticsto optimisewarehouseperformancethrough cutting-edgeautomationsolutions.

BY JOHN BAULCH — PUBLISHER

Licensing is King

WHY

LICENSED

TOYS ARE DOMINATING THE UK MARKET

It’s been another strong year for licensed products, which have outperformed the UK toy market as a whole so far this year: according to Circana, for the YTD August 25, Licensed Toy sales were up +14%, twice as much as the Total Toy market, which grew +7%, while non-licensed toys were up +4%. Overall, licences generated 35.6% of Total Toy value sales in the first 8 months of the year, worth over £550m.

All of which demonstrates just how important it is for licensees and retailers to select the right licences to back. As anyone who has worked with licensed properties for any length of time will know, it can be a minefield, and getting in (and getting out) at the right time can be critical.

With BLE just around the corner, this gives retailers and licensees the perfect opportunity to evaluate the properties which they feel are going to perform well as we head into the key planning and buying season for 2026. As the premier European licensing event, BLE will see visitors from many different European territories descend on the ExCeL Centre in East London from 7th – 9th October.

It's no great surprise that licensed toys have enjoyed strong sales across 2025: the year started strongly with Pokemon, Minecraft and F1 products in high demand, while a

crop of new movies kept the momentum going throughout the summer – including Lilo & Stitch, How to Train your Dragon, Jurassic World Rebirth and Superman. There are still a few big theatrical releases to come this year, including the second part of the Wicked movie this November, while 2026 will see another strong film slate lead by the likes of Disney Pixar’s Toy Story 5 and Mandalorian & Grogu, as well as Illumination’s latest Minions movie.

There have also been plenty of licensing successes away from movie theatres: Peppa Pig has enjoyed its best year for a while, with the introduction of Baby Evie helping to reinvigorate the brand. Bluey and Paw Patrol continue to enchant younger kids, while many of this year’s leading properties will undoubtedly continue to enjoy success in 2026.

Although quick ‘in and out’ brands will always form part of the licensing landscape, licensors, licensees and retailers all appreciate the consistency and reliability that franchises with longevity offer.

At the other end of the age spectrum, with the seemingly inexorable growth of the Kidult

category, a host of Asian-inspired brands continue to vie for attention, as licensees and retailers look to tap into this passionate audience. The largest UK toy retail chain – The Entertainer – has largely avoided this product category, but it recently announced that it will be introducing a broader range of Kidult ranges to its portfolio within the coming weeks. As The Entertainer CEO Andrew Murphy recently admitted: “As a business, we have previously focused on the 12 years and under demographic. We’re now looking to attract a whole new customer target group, by adding around 20% of new Kidult-oriented SKUs to our range.”

The Entertainer is certainly not alone in targeting the KIdult audience, which is helping the overall toy market to continue to grow, despite the prevailing economic challenges which toy retailers are currently facing. Here in the UK, we have a handful of dedicated pop culture retailers, but it is not as developed as, for example, the US pop culture retail channel. And this has left a great opportunity for toy retailers to capitalise on this growing market – pop culture, anime and Kidult products align well with toys, as there is a strong element of play, collectability and fandom involved. Not so long ago, toy retailers were unsure whether Kidult products fitted within a traditional toy store – but with each passing month, we are seeing more and more toy retailers embrace the category and, with it, the chance to widen their customer base.

According To Downsey

A NEW SEASON FOR LICENSING: FROM AWARDS TO TRADE SHOWS

Like many business sectors, licensing runs on a calendar and has a certain rhythm to it. After a couple of months of summer rest and relaxation, the UK industry is back in full force. We have entered the trade fair season and also recently enjoyed the UK Licensing Awards.

THE LICENSING AWARDS

The Licensing Awards are now firmly established as a key part of the licensing calendar. This year, over 1,200 industry executives attended the event. It is certainly more of a challenge to win an award these days with much more competition and a higher standard of entry. The latter point is probably one we should all take some pride in— licensed products are getting better, while overall, I think business standards in the licensing industry have risen. This isn't all down to the awards, of course, but the awards certainly help bring a sense of focus to the industry.

Overall, I think licensing professionals are more aware that product development has to be of a high standard and authentic, while brand owners have got better at supporting their brands. There is also more understanding of "what the consumer wants" in general terms.

The awards also give some insight into market trends and movements. For example, it was interesting to see HMV win in the Best Retailer of Adult Licensed Products category and for MINISO to win the Radar Award for retailers who are becoming more noteworthy in the licensing mix. In both cases, these retailers focus on fandom and pop culture—their recognition underpins how important this market is becoming to licensing.

albeit Formula 1 has received a boost from the popularity of the Netflix series Drive to Survive. It was also good to see some new faces picking up awards—for example, KP Snacks brand Tyrrells winning Best Licensed Food or Drink range for their Wallace & Gromit Wensleydale and Cranberry Crisps range.

To keep growing, licensing needs new participants and needs to be aware of new opportunities. Related to this latter point, it was also good to see Character. com’s SpongeBob SquarePants Adaptive

LEGO’s Formula 1 range winning Best Licensed Toy or Games range was a demonstration of how licensed brands are emerging from a range of categories these days beyond entertainment,

Ian Downes Start Licensing Ltd

LEGO FORMULA 1

Clothing Range from Fashion UK winning the Innovation Award. It is good to see the licensing industry being more aware of inclusivity and creating products that are more inclusive. In this regard, licensed brands can be very influential.

CAROLINE MICKLER WINS ACHIEVEMENT AWARD

A final observation about the Licensing Awards was how pleasing it was to see Caroline Mickler winning the Honorary Achievement Award. This was richly deserved, not least for Caroline’s pioneering work with The Beatles. The success that Caroline had with the Fab Four’s licensing program arguably paved the way for other "band brands" to succeed in licensing and helped establish a very vibrant licensing genre.

A final observation about the Licensing Awards was how pleasing it was to see Caroline Mickler winning the Honorary Achievement Award.

TRADESHOW SEASON

Beyond the awards season, tradeshow season is upon us. I have been to three shows already, including Top Drawer. Top Drawer is a show that has traditionally been licensing-lite, but interestingly, this year there seemed to be more licensed products on show than I have ever noticed before.

Top Drawer focuses on gifting, stationery, homewares, accessories, and interiors, generally toward the mid-to-higher retail tiers. This shift toward licensing can be explained in part by more companies recognizing that a well-crafted licensed product can be stylish and bring a ready-made consumer audience with it in a range of retail environments.

I think it is also explained by changes in retail—retailers like gift shops and bookshops are more inclined to sell a broader mix of products, and in this

context, a well-curated licensed product selection can bring instant wins for them.

It was good to see companies like Chunki Chilli at Top Drawer who are relatively new to licensing but are enjoying success with their Wallace & Gromit Knitted Toys. They are a good example of a company and category that can succeed in licensing if a different approach is taken. Their success should encourage other manufacturers that licensing can work for them.

What shows like Top Drawer and events like the Licensing Awards have shown is that the licensing industry needs to continue to be imaginative and flexible in regards to new business.

There are new opportunities out there and new ways of working, but it is important to start the conversation with an open mind. Sometimes you have to rewrite both the rulebook and the playbook to find success.

Shaping the Future of Play in New York City

TOY FAIR® 2026

For more than a century, Toy Fair® has been the meeting point where the global toy business comes together to chart the future of play. From 14th–17th February 2026, the world’s toy community will once again descend on New York City’s Javits Center for four packed days of product discovery, dealmaking, and industry networking.

Covering an area equal to eight football fields, Toy Fair spans every category imaginable — from dolls, action figures, and collectibles to STEAM products, outdoor toys, and the newest licensed ranges. Global powerhouses including LEGO, Mattel, Hasbro, Spin Master, and Crayola will be joined by a new wave of talent making their debut in Launch Pad, the show’s platform dedicated to start-ups and inventors.

But Toy Fair is about more than what’s on display. It’s about what’s shaping the industry next. Trends such as the booming kidult market, digital-to-physical crossovers, sustainability initiatives, and screenfree play will all be on show, giving visitors a first-hand look at where consumer demand is headed and who is leading the charge, particularly in the North American market.

The 2025 event drew attendees from nearly 100 countries, with 21 of the world’s 25 largest toy retailers represented alongside hundreds of independent and mid-sized outlets. Nearly 250 firsttime exhibitor underscored Toy Fair’s role as both a launchpad and a global stage for innovation.

“From gaining visibility with buyers and media to networking with peers and accessing unmatched educational programming, Toy Fair offers opportunities you simply won’t find anywhere else,” said Kimberly Carcone, executive vice president of global experiences at The Toy Association™, organiser of the event.

LOOKING AHEAD TO 2026, HIGHLIGHTS WILL INCLUDE:

• Toy Fair University: Expert-led educational sessions will return with insights on licensing, consumer behaviour, brand protection, and more. The speaker lineup will be announced in the coming weeks.

• Global press reach: Each year, close to 1,000 media representatives — from major outlets such as The Wall Street Journal, BBC, and Good Morning America to influential digital creators — cover the show, amplifying trends worldwide.

• Reimagination Awards: The show’s Visual Merchandising Initiative will once again celebrate exhibitors who push the boundaries of booth design and creativity and capture the attention of show attendees and media alike.

Planning your trip begins now. Registration is open to the trade at ToyFairNY.com. Book hotels through onPeak, Toy Fair’s exclusive housing partner, for the best rates near the Javits Center; explore visa resources for international travellers, and map your personalised schedule with the Toy Fair mobile app.

Whether you’re aiming to enter the U.S. market, strengthen global business ties, or scout the next big idea, Toy Fair® 2026 is where it all begins.

Toy Fair New York takes place 14–17 February 2026 at the Javits Center, New York City. Visit ToyFairNY.com to register.

WeCool

WECOOL TOYS UNVEILS EYE-CATCHING NEW RETAIL DISPLAY

AT YAS MALL’S TOYS “R” US IN ABU DHABI

WeCool Toys is proud to announce the successful launch of an immersive and brightly coloured in-store display at Toys “R” Us, located in the flagship Yas Mall, Abu Dhabi. This high-visibility fixture showcases WeCool’s most popular lines, including the Compound Kings range with a wide range of slimes and compounds, the iLY craft activities range featuring the best-selling Sticker Maker, and the innovative Magic Trace drawing range.

The collaboration was initiated earlier this year when Toys “R” Us’s GCC General Manager, Bash Ramzan, and the buying team met WeCool Toys at the Nuremberg Toy Fair. Recognising the brand's exceptional growth and customer appeal, the retailer extended an invitation to create a standout branded experience within its Yas Mall location.

Designs were conceptualised and executed by SAPP International, known for cuttingedge retail display technology, and expertly managed by First Group International, who oversaw all stages of approval, refinement and implementation. From concept to installation, the display came to life over several fast-tracked weeks, adhering to the mall’s tight turnaround windows and achieving a flawless result.

Biju and Omar, the spokespersons from First Group International who orchestrated the project, noted that while design approvals and mall compliance were the main challenges, the collaboration with SAPP and the Toys “R” Us team ensured an efficient and well-managed roll-out.

“Everything went smooth in all honesty, and the finish and the execution is perfect. It's really elevated the brand,” said Bash Ramzan. “We know there's the market for compound and nobody does compound better. We are very positive and happy with the results and we're confident with a few tweaks, working with First Group, that [WeCool Toys] will start to see some huge growth coming soon”.

The display includes vibrant signage, illuminated branding elements, and a dedicated attendant positioned within the setup to support maintenance and guide customers through the product range. At its centre is a demo table with stools, designed to facilitate hands-on interaction. The installation, combined with scheduled weekend events, is intended to create an engaging experience for both children

and parents, encouraging them to explore WeCool’s range of creative and sensory toys. These in-store demonstrations such as jewellery making and sensory play activities began in late-August and coincided with the back-to-school period, drawing in the returning customer base. As Omar explains, “the aim for it and the aim for this whole thing… is to bring people in and to interact with the products”.

Stephanie Baker, Global Brand Manager at WeCool Toys, sees this installation as the first step in a wider global strategy for the brand’s retail presence. “It’s our shop window, and an example to other regions, distributors, and retailers, about how you can do a best practise brand execution. It would be great for us to demonstrate to our teams in other regions how we could do similar wall fittings and displays”.

WE AUSTRALIANS LOVE OUR SUPERHEROES

Especially classic superheroes like The Batman and The Flash. Fans are always keen for new ways to celebrate them.

WE ALSO LOVE OUR CARS

Australia has around 21 million registered vehicles and most of them are passenger vehicles. That means most of your customers drive, and lots of them are DC fans.

FAN EMBLEMS ARE DESIGNED TO SUIT ALL VEHICLES

But fans stick them to all sorts of things - laptops, tablet covers, gaming consoles, toolboxes, wheel toys, luggage, furniture, windows, doors, glass, metal, etc.

AVAILABLE IN VARIOUS PRICE POINTS

They’re great impulse buys, ideal for counter displays.

PROUDLY AUSTRALIAN MADE AND OWNED

A popular gift and souvenir idea. They’re lightweight and compact, perfect for mailing.

AFL FAN EMBLEMS SELL EVERYWHERE

If your customers drive, stock DC Fan Emblems.

www.fanemblems.com

BY GRAHAME GRASSBY

STORY #18

Stories From GG's Toy Box

FRED GAFFNEY: PIONEER OF AUSTRALIAN LICENSING TURNS 80

Fred Gaffney, recognized by being both the first inductee into the International Licensing Hall of Fame and the first inductee into the Australian Licensing Hall of Fame, celebrated his 80th birthday on September 27th, 2025.

Establishing Gaffney International Licensing in 1977, Fred was instrumental in bringing the licensing business to Australia through his management of brands like Sesame Street, The Smurfs, Marvel, Garfield, Peanuts, Mr Men, Star Wars, Thomas and many many more.

Fred also represented Australian properties like Phar Lap and The Man From Snowy River and was responsible for making the Australian properties Bananas in Pyjamas and The Wiggles big success stories around the world.

Brought up in Beaumaris, Melbourne, Fred started his working career in retail becoming the youngest manager of a Woolworths store, before launching into the toy business, working with Croner Toys from the mid-1960s.

In 1977, Fred pitched for and was appointed to manage the Sesame Street licensing rights in Australia and thus began a career in licensing spanning 50 years.

You have to pick up a bit of baggage over such a long period of time and in Fred’s case a lot of actual baggage.

Fred’s shopping trips were legendary, as Fred and his numerous staff, swarmed through retail store shelves the world over filling up suitcase after suitcase with licensed product samples to be taken back to Australia to show Australian companies new ways to grow their licensed business on products using the brands Fred represented.

After one particular shopping trip in London, Fred famously woke up the CEO of Qantas in the middle of the night at home in bed to complain

that the Qantas staff at London’s Heathrow airport were refusing to load on his 30 suitcases of luggage.

“Just this one time Mr Gaffney and never call me again, ever!” , but the bags went on the plane, arriving safely back in Melbourne.

Even on his most recent trip to this year’s Vegas Licensing Show, Fred can be seen on his mobility scooter still taking far too much luggage to the airport.

Happy 80th Birthday Fred – and congratulations on making so much noise over 80 years.

IRENE GAFFNEY WITH FRED'S SUITCASES AT LONDON HEATHROW AIRPORT

RETAIL ADVISOR AT RETAIL DOCTOR GROUP

www.RetailDoctor.com.au

Stay Tuned to the Evolution of Advertising and AI

WHAT I LEARNED AS GOOGLE'S FIRST AUSTRALIAN ADVERTISER CAN APPLY

I believe advertising is coming to AI soon and will be the new frontier of digital marketing. Nick Turley (Head of ChatGPT) said “there are no immediate plans for ads, but that OpenAI won’t rule them out.”. In my view, they are coming, particularly given they have a free option for users. AI is going to play out the same way as search engines played out in the late 90’s and early 2000’s. I believe we will see ads appear in some format with organic results (most likely distinguishable as separate in some way like how google and Bing do it currently).

So, why does this matter? When it comes, we can worry about it then right? No wrong! You need to be ready to pounce and here is why.

THE ORIGIN STORY: A 1 CENT ARBITRAGE

In 2003 when google launched AdWords in Australia, I was doing a final year university thesis on my family business The Party People. As part of it, I became aware of google launching in Australia and I simply started advertising as soon as it became available. I unknowingly became its first advertiser.

The cost was 1 cent per click. This is no joke, It’s a true story. Why? Because in a competitive bidding marketplace, in the early day’s awareness is low and people take their time to come on board. Few advertisers = Low demand = Low prices. = advertising arbitrage. It’s the digital equivalent of a gold rush. It’s not about who spends the most, but to those who arrive first reaped the rewards.

But it wasn’t just about being early once. I made it a habit to get on every new beta Google released. Product ads, location extensions, dynamic sitelinks, every single new feature gave early adopters an edge over those that had not adapted their strategy yet. Product ads again offered at 1c a click while extensions offered my ads double the real estate of my competitors’ ads just simply by having them before others realised they were available.

As competitors entered, the price went up. However, I still had the edge because as they were entering, I was refining and making my ads more efficient and effective while the new entrants were just learning. I had historical data to help me refine my strategy while they were just figuring out what the new world they had entered was all about.

TAKING THE EARLY ADOPTER MINDSET TO THE NEXT LEVEL

I saw the arbitrage of being early, so I took this to another level with Bing. When I caught wind of “Bing” being a platform in the USA, I contacted them and asked them if I could be their first Australia advertiser and I was told “No, we are not doing Australia yet”. A few months later I noticed they launched in Asia, so I contacted them again and again I got a “no” however this time my reply was this “Can’t I advertise in the USA and Geotarget Australia”.

Within a short period of time, they responded that it might work if I was to do it out of Singapore and before long, I was advertising with Bing Singapore geotargeting Australia and for quite some time I was the only advertiser paying 1c a click again!

A MATURED MARKET: THE LANDSCAPE TODAY

Fast forward to today, and it’s a different landscape. Digital advertising has matured. It’s expensive. It’s crowded. It's a battleground where only the best offer that are the most data-driven, highly optimized, creatively refined survive.

But the underlying economics haven’t changed, just the platform.

And that’s why I believe the next major advertising frontier is already unfolding quietly in the background: AI advertising.

FROM SEARCH TO GENERATIVE: A PLATFORM SHIFT IS COMING

Search advertising has dominated digital for nearly two decades, but the winds are shifting. Platforms like ChatGPT, Claude, Bard, and others are becoming the new gateways to information and decision-making.

I heard a stat at the NORA gen Ai summit that 6 months ago 1% of product searches were done with AI, then it was 3% then 6% and now currently estimated at 10%.

We used to say “just google it”, now we are saying “just ask ChatGPT”

We used to say “just google it”, now we are saying “just ask ChatGPT”

As our search volume shifts to AI, advertising dollars will shrink and so I cannot see any way this plays out without Ad’s appearing in AI results.

I even asked chat GPT what it thinks of my theory here and my mate Chat agrees with me.

We may not yet see traditional ad slots in AI interfaces, but they’re coming. Whether through contextual suggestions, sponsored responses, or native product integrations, advertising will find its way into generative AI because that’s where attention is going.

In fact, AI will understand our “Intent” better. It will know if we are just searching for ideas or really looking to buy.

How an ad platform will handle that which is not keyword driven but intent driven? I would suggest AI will handle that for the advertiser and optimise for the intent.

In fact, I recently created a mock-up (pictured left) of what advertising might look like within a tool like ChatGPT complete with a branded sidebar and AI-powered product prompts. While tongue-in-cheek, the image speaks to a very real future.

THE OPPORTUNITY FOR RETAILERS IS MASSIVE IF YOU’RE EARLY

Just as Google, Bing and Facebook offered early movers an unfair advantage in the 2000s and 2010s, AIdriven platforms will reward the next generation of pioneers.

MY ADVICE?

• Be early when the next platform arrives

• Test, learn, and scale before the crowd shows up.

• Treat AI not just as a tool, but as a new channel of influence.

The winners in every tech wave aren’t the ones with the biggest budgets, they’re the ones who move fast, stay curious, adapt quickly and execute decisively.

At Retail Doctor Group, we help retailers not only keep pace with these seismic shifts, but predict and profit from them. We blend retail diagnostics and strategy with future-focused foresight to ensure brands aren’t just reactive, they’re out in front, where the growth happens.

So here’s my final question:

Do you believe AI tools like ChatGPT will bring out advertising? And if they do, will your brand be ready, or playing catch-up?

www.about.me/thierrybourret

Whatever Happened to Business Built on Relationships?

DREAMING IN A TRANSACTIONAL WORLD

Just finished the LA previews. Six no shows, which I guess is not bad as it is 8% of the appointments. Still, I waited for those people and not one even had the courtesy to send a message cancelling or postponing.

And then there are the buyers who ignore your emails for weeks or months. Nothing. Until the moment you have something hot or sizzling and suddenly you are their best friend. Sorry, but it does not work like that. You do not build a relationship by only turning up when you want something. I prefer a world where business is built on trust and continuity. Otherwise, it all feels cheap. And honestly, when it is only transactional, I feel more like a prostitute than a business partner.

Earlier this year I spent far too much time dragging people around factories in South East Asia because they were panicking about tariffs. Flights, hotels,

days out of the office… and in the end, nothing. No orders, no business. Just wasted time. And while I was doing that, I was not focusing on what actually makes me money: sales. The reality is people are still only chasing cheap, cheap, cheap.

Those factories will only be remembered when the next crisis comes along.

We had Covid, we had tariffs, and you can be sure there will be another. But next time, I will be charging for my time and efforts in building and maintaining those relationships.

Maybe, at my age, I am still a dreamer, but I still believe in people. I have always believed that if you do something for someone, they will remember and send some business your way. That was the oldfashioned way of doing business, on relationships. Today it feels different. Everyone seems to be chasing opportunities and not relationships.

And what about deals? Is a deal still a deal, or only until a better offer comes along? The old handshake used to mean something. Now it does not count for much. Loyalty and consistency have been replaced by opportunism. For small businesses, that is not just frustrating, it is

damaging. You plan, you invest, you take risks based on a deal. Then someone shifts the goalposts because they found a better option. For a corporate, it is a line on a spreadsheet. For us, it can mean wasted months, stock tied up, and money lost.

Take one company, let us just say they were very good at pulling the string. They modified my original rep agreement to pay me a lower percentage of sales for six months after termination. I agreed, because I believed in the product. Then they decided they no longer wanted me and brought in “Mr Supersalesman.” Fine. They gave me notice. But when it came time to pay the six months commission, the goalposts moved again. Suddenly the “new” product

they launched, same range, same customers, was not part of the contract. Convenient. I argued, they refused, and in the end I took what they claimed they owed me, not what was actually due.

They can go to hell. Preaching religion while behaving like hoodlums.

Running your own business means having your balls on the line every day. Your own money, your own time, your own reputation. If it goes

For us, it can mean wasted months, stock tied up, and money lost.

wrong, it is on you. Corporates, on the other hand, dip in and out when it suits them. If the numbers are good, they are in. If not, they walk away without consequence. Meanwhile, the entrepreneur has already put in the hours, the cash, the belief.

And talking of corporate… one company from a relatively small country sent nine people to LA. Yes, nine. No less than nine people turned up in my showroom. This is the same retailer who will argue with you for a few cents on a product. They can afford to fly nine people across the world, but will squeeze you over pennies. That is corporate logic for you.

That is the difference. Entrepreneurial passion versus corporate pragmatism. Skin in the game versus someone else’s budget. Of course, there is pride in standing on your own, knowing you built something and carried the weight yourself. But it is frustrating when corporates treat commitments like hobbies. For them, it is just business. For us, it is everything.

Thierry, a seasoned international sales and marketing expert, founded Konomocha in 2015. With over 20 years of experience, he helps toy and stationery brands expand into EMEA and APAC markets.

The Magic of Licensing as written By

Craig Stokley

MY TOY STORY

This story begins in a land not so far away in a time not that long ago.

Cincinnati, Ohio in 1973. I was a new Product Manager for the Kenner Toy Company. Kenner was owned by General Mills at the time, and I transferred here from earlier positions with General Mills in Minneapolis marketing Wheaties, Trix and developing Nature Valley cereal.

As the new kid at Kenner I was honored to be assigned a new product line that was going to really put the company on the map... a line of Boy Scout action figures. As an Eagle Scout this was a dream assignment for me. It was the idea of Kenner president, Bernie Loomis, who had personally negotiated the rights with the Boy Scouts of America. With this visibility and commitment, how could it miss?

Steve and Bob Scout and their adventure camp sets were introduced to the trade at a preview show in Chicago January 1973. Lots of hype and TV commercials followed.

Later that year we all knew the line had bombed. In toy trade parlance Steve and Bob Scout were “stiffs”. Kids didn’t buy them. And nobody knew why.

This was my big opportunity. It was devastating. And then I came down with hepatitis from eating some bad oysters, and missed three months of work.

At that time, almost all new toy concepts at Kenner were exposed to children early in the development cycle. It was part of my job to attend and observe child “play tests” of all promising new toy prototypes that were in my assigned categories.

It was a dreary, rainy day at Mt. Airy elementary school in suburban Cincinnati. I was standing behind a one way mirror watching two boys playing (unenthusiastically) with a new robot toy prototype we were evaluating. Suddenly one boy grabbed it and said “I’m the Six Million Dollar Man” and started some very interesting “play patterns” as we called them. After the play session I asked Delores, who conducted our play tests, if she knew who this was.

Shortly afterward he reported that ABC had recently begun airing a new prime time series about a bionic man called the Six Million Dollar Man™.

She didn’t. When I returned to the office, I asked our advertising VP, Hugh Kaiser, if he knew and he said he would check it out. Shortly afterward he reported that ABC had recently begun airing a new prime time series about a bionic man called the Six Million Dollar Man™. It was receiving very strong Neilsen viewer ratings by adults and children. It featured a fictional NASA astronaut who, after a severe plane crash, had been surgically repaired with futuristic ‘bionic” features including an eye with telescopic range, a right arm with super strength powers, and both legs that enabled him to jump tall buildings and run like the wind.

When I presented this information at our weekly new product committee meeting, Bernie was instantly ready to go for it. At that time Saturday morning cartoon shows provided almost all of the toy licensing opportunities. But we would not be able to have toys in the marketplace until the second half of 1975 (next year), and by that time the new show could be off the air. Despite this risk we contacted Universal Studios who produced the Six Million Dollar Man™, and negotiated worldwide licensing rights for toys based on the new program.

Dave Okada, Kenner Vice President of Preliminary Design, and his design team worked feverishly to create the fantastic action figure prototype. It included:

• A see-through bionic eye, made from a modified fisheye lens from a door security viewer, that magnified

• “Roll up” bionic skin covering the right arm ( a section of penny balloon that entertainers use to make into inflatable animals) revealing the replaceable bionic module in Steve Austin’s right arm

• And a power lift mechanism in Steve’s right arm activated by pressing a button on the figure’s back. Kids could act just like the TV character now!

• Our figure was designed to be larger than the standard Hasbro GI Joe, Mattel Big Jim and Ken action figures at that time to accommodate these special features. This was a gamble we needed to make.

Bernie and I made a trip to Universal Studios in California to show the prototype to Lee Majors and Universal executives, and they loved it.

We also developed the Bionic Transport and Repair Station, as well as the Crystal Radio Backpack Communicator accessories.

We invited Lee Majors, who played Steve Austin the Six Million Dollar Man™, and his wife Farrah Fawcett (of Charlies Angels fame) to attend the big introduction at Toy Fair in New York City in February 1975. One of my jobs was to meet them at the airport and escort them to their Park Avenue hotel. This was an exciting change for me from Steve and Bob Scout.

It was a fantastic Hollywood experience, and the Six Million Dollar Man™ was a huge success, increasing Kenner’s total sales by over 50% that first year from $60 million to over $100 million. It was the #1 toy on the Toy Hit Parade for 1975!

Craig Stokely with Lee Majors, The Six Million Dollar Man Steve Austin, with the Bionic Transport and Repair Station

We followed up in 1976 and 1977 with Steve’s boss the Oscar Goldman action figure and his exploding briefcase, Maskatron™ (Steve’s evil mechanical nemesis and I believe one of the greatest toys ever created) and The Bionic Woman™ action figure, played on TV by Lindsay Wagner. She was Steve’s TV girlfriend who was also rebuilt with specialbionic parts after a near death experience. Some may remember that she actually died during the last episode of that season, but there was such a fuss from viewers, that she was dramatically brought back to life the very next season in the world’s first bionic resurrection! The Bionic Woman was then spun off as a free standing TV series.

Kenner was on a roll. And I was promoted to Vice President Marketing and Product Planning at the age of 29. Part of my job now was to make sure that we had the first opportunity to license all promising new TV properties, so I was in California periodically networking with key studios and producers. Bernie and I shared what may have been at that time the only subscription to Hollywood Reporter in Cincinnati to keep abreast of the entertainment industry.

We discovered, licensed and developed great toys for two promising new prime time action/adventure programs....

We discovered, licensed and developed great toys for two promising new prime time action/adventure programs.... The Invisible Man (played by David McCollum of Man From Uncle fame) and The Man from Atlantis (played by Patrick Duffy before he became a star on Dallas). The Invisible Man was a real challenge, but Dave and his team created some very clever features and accessories.

Both shows were cancelled during their first season. We lost our advance payments and development expenses. But that was the game we were playing. And we were not deterred.

It was also my responsibility to nurture relationships with independent toy inventors to assure that Kenner saw their new creations first, so that we could license the most promising ones for our line. We would meet with the better known designers at our offices in Cincinnati or travel to their locations in Chicago and Los Angeles for dedicated meetings. For several days at the annual February Toy Fair trade show in New York City I would have appointments scheduled from dawn to dusk with the lesser known inventors who found it efficient to try to reach most toy companies at one time in one location. Most of the ideas and prototypes they brought weren’t very exciting, but occasionally a gem could be found.

Toy Fair was an exhausting time for me, and by the end of each day I was done. At Toy Fair in February 1977 I received a call from Charlie Lippincott, who I had never heard of, who said he represented a movie that was going to be released late that Spring. He wanted to show me the movie trailer “preview” to see if Kenner wanted to license it for toys.

Craig Stokely with Richard Anderson , Oscar Goldman, Steve Austin’s boss and his exploding toy briefcase

My first thought was why bother... most movies are only shown for a few weeks at most... and we need a year to develop and produce the toys. It had been a long day, and he wanted me to take a cab across town in rainy rush hour New York City traffic to see this short clip at 6pm.

It was my job, so I went. What I saw was a brief preview of an exciting new space movie with lots of very interesting robots and vehicles. A virtual toy line! It was called Star Wars. I asked Charlie for a copy of the full movie… he said he couldn’t do that since it wasn’t finished yet. I asked him for a script, and he said he couldn’t provide one. I came back to Cincinnati with only the preview.

And all we knew was that the young creator George Lucas had only one successful movie to his credit, American Graffiti, and that 20th Century Fox was the distributor. It was now the end of February and the movie was to be released in May 1977. After returning to Cincinnati I showed the clip to Bernie, Joe Mendelsohn ( Executive VP) and Dave, who were also intrigued.

In a discussion with Joe I recommended that we proceed with this license, because even if the movie was a dud, there were such great characters and vehicles in it that Kenner with its recent successful track record with action figures would make it a success.

Meanwhile I became aware that another young movie maker named Steven Spielberg was finishing a new movie called Close Encounters of the Third Kind, distributed by Columbia Pictures, that may also have toy potential. His only significant credit at that time was Jaws. But his new movie was also coming out late that Spring.

We made appointments to visit with both George Lucas and Steven Spielberg in Los Angeles. At 7am one morning Bernie and I met with Steven Spielberg, who happened to grow up in Cincinnati, and the Columbia Pictures representative at Columbia Studios. Steven was busy

finishing his movie and apologized for the early hour and limited time to talk. We weren’t allowed to see a preview of his movie, understand the plot or see a script. Steven also apologized for being so secretive. He and George were good friends, and he volunteered that George’s movie would be a much better toy licensing property than his film. This was easy for him to say because at that time only George Lucas had the foresight to retain merchandising rights for his film. Normally the studios retained such rights. The Columbia Pictures representative choked, and we moved on to our meeting with George Lucas and his team later that day.

In that meeting we agreed to a relatively modest advance payment of $25,000 against an annual guarantee of $125,000 and standard 5% royalty arrangement for all “intergalactic” rights to license Star Wars and all sequels for toys, games and crafts forever. Little did we fully realize at the time what this would mean. The movie was still coming out May 1977 and this was March.

Dave and his team got busy creating prototypes for the action figures and vehicles.

Carole Stokely and Craig Stokely with R2D2 in the Kenner showroom at the 1978 Toy Fair in New York City

But the toys wouldn’t be ready until the following year because of the long lead time for tooling.

One of the many product development challenges for this line was that there were dozens characters and robots in the movie, and we had recently established a new standard (13inch) size for action figures with the Six Million Dollar Man introduction. This would make it difficult to sell our 8 year old customers multiple higher priced action figures. The vehicles would also have to be huge and expensive. Dave and Bernie came up with the “out of the box idea” to shrink the figures to a size just like the toy soldiers we all grew up playing with. A simple but daring move at the time. How would we include special features like the light saber with such small figures? Dave and his team found innovative ways.

When Star Wars opened in theaters May 25 we knew we had a once in a lifetime hit. General Mills company stock rose by several dollars just on the announcement that Kenner had the Star Wars merchandising rights.

But how could we capitalize on this right away?

Bernie created an outrageous new product idea. Lets sell kids a paper gift certificate right now good for a set of Star Wars figures to be mailed to them next year as soon as the toys are ready. This had never been done. In our immediate gratification world, especially with children, this was crazy. It was a brilliant way to demonstrate the power of the movie to drive toy sales, and increased our confidence to commit even more heavily to additional products for the following year.

The first full year Star Wars toy sales in 1978 of over $100 million more than doubled Kenner’s total sales at the time. But this was only the beginning.

Star Wars toys have generated Billions and Billions of Dollars of manufacturer sales since then, and are continuing to do so for Kenner’s current owner Hasbro.

I believe this is the most successful toy license in history.

HERE ARE SIX LESSONS FROM THESE EXPERIENCES THAT YOU MAY FIND USEFUL IN YOUR EVERYDAY BUSINESS LIFE:

1. Think and Act like your Customer

Bernie created an outrageous new product idea. Lets sell kids a paper gift certificate right now good for a set of Star Wars figures to be mailed to them next year as soon as the toys are ready.

Everyday at Kenner I tried to be an 8 year old boy. Some may say I acted like one at times too. I would watch Saturday morning kid TV shows and all the breakfast cereal and toy commercials almost every week, attend as many new toy concept “play tests” as I could, and try to look at new toy ideas, our TV commercial storyboards and proposed new toy retail packaging from the Customer’s point of view. Kids can be very detail oriented. It became clear to me why Steve and Bob Scout had bombed. Many of our target customers were already Scouts or had big brothers who were.

Six Million Dollar Man is the #1 toy line in America

For Six Million Dollar Man we developed a special mail in Membership Club kit including a signed color photo of Steve Austin, membership card, sticker, and certificate for a self liquidating price of $1.

Camping and hiking were things they could do now. For them the Scouts provided limited imagination and projection into unattainable fantasy roles such as Six Million Dollar Man. For Six Million Dollar Man we developed a special mail in Membership Club kit including a signed color photo of Steve Austin, membership card, sticker, and certificate for a self liquidating price of $1. We did this because such a club kit had been very important to me as a kid watching Captain Midnight on Saturday morning TV. It likely significantly strengthened our ongoing brand franchise.

2. Enjoy and be Passionate about What You Do

We worked very hard at Kenner. I believe the entertainment industry in general is one of the most demanding fields there is. We also thoroughly enjoyed what we were doing, made sure we had a lot of fun, and focussed on being the best. I think it was Jefferson that said “the harder I work the luckier I get.” None of our successes came easily. Each day at the office I knew that 30% to 50% of this year’s sales would disappear next year due to short toy product life cycles. So we had to replace those sales every year just to stay even, and then try to grow our business. That does focus your attention. Our company philosophy at Kenner was that “The Product is King”. That meant that our passion to create, develop and market very special products always came first. It was one of the glues that kept a wild bunch of aggressive toy men and women united and generally aimed in the same direction. If I hadn’t taken that cab ride across town after a long day to see the Star Wars preview, who knows what might not have happened?

3. Place a Number of Appropriate Bets on an Ongoing Basis, and Avoid Betting the Farm

In our high risk environment it required consistent discipline to bet on unproven new ideas and properties, take our losses, and then continue to bet. But that was what success required. We lost sizable amounts on The Invisible Man and Man From Atlantis bets, but made a long shot bet and hit the jackpot on Star Wars. We just never knew for sure, no matter how much intelligence we developed, how well we performed our jobs, how hard we worked. It takes a steely resolve to play that game.

Lee Majors signing his very own membership card in the Six Million Dollar Man fan club

Lee Majors signing his very own membership card in the Six Million Dollar Man fan club

4. There is No Such

As Failure

In the toy business most new products are not successful. That was a major change for me coming to Kenner from General Mills cereals where we would usually research and test market new products thoroughly before introducing them. And even then we would still have somewhat unpredictable results. At Kenner we needed to make go/no go decisions frequently with limited time and information. The toy environment welcomes and requires risk taking. There was no stigma or even recognition of the concept of failure at Kenner, it was simply a lack of success. That can make a big difference in how you approach opportunity.. seeking success rather than avoiding failure.

5. Try Something New and Different

During the initial filming of the Six Million Dollar Man program, the show’s producer’s originally showed Steve Austin’s ability to run 60 miles per hour with his bionic legs by speeding up the film. It made him look funny, like a Keystone Cops segment. So they developed the counter intuitive approach of showing him running in SLOW MOTION with special sound effects when he was supposedly running at 60 miles per hour. Everyone got it. But who would have thought of it? Reducing the size of the Star Wars action figures from the larger standard we established with Six Million Dollar Man was a risky decision, but the correct one. Bernie’s outrageous Star Wars gift certificate idea is a classic.

There was no stigma or even recognition of the concept of failure at Kenner, it was simply a lack of success.

6. Teamwork Makes It Happen

Many individual judgments, decisions and actions by different people created this Toy Story. Bernie Loomis made the tough calls, but we had a dedicated, hard charging, innovative, tenacious team at Kenner that made it all happen. We were strong personalities that didn’t always agree, but we shared a mutual respect and a commitment to be the very best that overcame our differences, and helped us to focus on the goal. It was a very special time.

Well, that is My Toy Story, and I’m sticking to it.

© 2018 Craig R. Stokely

Craig Stokely presenting the first quarterly royalty check for over $1million for Kenner Star Wars toy sales to Lucasfilm and 20th Century Fox executives 1978

BY YANN FRESNEL

The French Toy Market

THE 'KIDULT' PHENOMENON

• The French Toy market has so far this year delivered very positive results (+10%) in 7 months. This is something never seen in 25 years!

• Most of top EUROPE markets are growing like UK (+8%) and Germany (+3%).

• As of the end of August in France, volume is + 1 percent and price +3 percent (16 Euros).

• The “Outdoor Toy” category that used to be a main driver is only counting for 9% of all categories and decreasing by 3%.

• Of 11 super categories tracked by CIRCANA, some categories are doing well driven by « KIDULT » (+12y old)

• Games & Puzzles is category N°1 (+23% in August/ 24% of total and cumulated +35%).

• Construction is still up (+46 percent in August / 18% of total and cumulated +31%) driven by Lego (Formula 1 is Top 10) and as a result of the continuing Kidult trend. Second category after Games & Puzzles.

• Figurines is up (+18% in August / 5% of total and cumulated +7%) driven by movies like Dragon and Jurassic World.

Yann Fresnel has 30 years experience selling toys in EMEA area. His company, Toy Influence represents overseas Toy companies in Europe and France. Connect with him on LinkedIn, or email him at yann@toyinfluence.com FEATURE ARTICLE

• Plush is already in +12% cumulated knowing Olympic Games was a strong plush TO last year.

• Inflation is going down compared to last year (+2,3% in 2024) and should be at +1% in 2025.

• Births are still decreasing (661 000 in 2024, down 160 000 over 15 years). 2025 births have continued the trend, down 2.2 percent in the first 6 months.

TOP PRODUCTS:

• Skyjo from Blackrock games (card game) is still number 1 as last year.

• Pokémon has 7 products in the top 10 and Lego Botanicals 2.

• Top 10 products are mainly KIDULT products.

TOY RETAIL:

• Smyths Toys is opening various new shops in 2025 and is now reaching 52.

• Joue Club and La Grande Récré have now 430 shops and will open 5 new ones. They are growing sales by 8% in 2025.

• KING JOUET has KIDULT sales counting for 21% of global sales, growing and will go to 30% in 2 years. They have opened 3 new stores called « KINGDULT » with assortment 100% KIDULT.

DISTRIBUTION:

• Toy specialists and multi-specialists are still growing sales (main channel)

• Hypermarkets are doing better when supermarkets had a bad summer in sales.

LICENSING:

• It has been a good year again with vigorous activity in licenses which are up overall, representing 28 percent of total toy sales (+18%)

• The top licenses are Pokémon, Lilo Stich, Formula 1, Star wars and Paw Patrol

• Some good blockbusters for children were in theaters the holiday season, which increased sales (Dragon, Jurassic World…)

TRENDS:

• Kidult games are growing, representing 31 percent of total toy sales (+2 points). The adults are buying regularly during all year and the average price is high. They have a unique space in Christmas catalogs (Games and puzzles, collectibles, and building with licenses).

• Budget for adult is nearly 200E/year and they buy in mix nostalgic (80’s/90’s) and manga items.

• Lego again is growing its TO significantly by 61% in 2025.

• Toys from Asia (Corea, Japan and China) are growing strong with Blind Box sales phenomenon. It’s already 15% of total sales (Labubu and others…)

FEATURE INTERVIEW WITH AARON TOMPKINS

TOY DESIGN FREELANCE FOR HIRE www.toedesign.com

The Intrigue of the Star Wars Franchise

The Bugg Report recently interviewed veteran Toy Designer Aaron Tompkins of Toe Design to discuss his extensive history with the enduring Star Wars franchise, exploring his experiences in collecting, designing, and pitching new concepts over the years. Recognizing Star Wars as a continuously evolving and fascinating phenomenon that has stood the test of time, the interview delves into Tompkins's unique insights, accompanied by amazing images of some of his favorite collectibles.

What's you first memory of Star Wars?

Like most kids growing up in the 1970s, I was influenced by Star Wars. My first memory is of my dad buying me a Star Wars X-Wing fighter from K-Mart at the mall (pictured top right).

How did you get into collecting?

I started collecting toys in the 80s and we would go to garage sales and flea markets, looking for Star Wars toys. They were everywhere, often selling for 10 cents each. I bought as many as I could (pictured right).

Do you remember any rare finds?

I grew up in a Sears town, and Sears sold the elusive Creature Cantina playset that included the exclusive “Blue Snaggletooth.” I was lucky enough to find two of them while collecting. I still remember paying $14 for a Creature Cantina with a Blue Snaggletooth inside (pictured far right)!

How did collecting lead you to design?

By 1998, I was working as a professional toy inventor. At the time, my agent Andrew Bergman had a relationship with Galoob, who were making Star Wars Micro Machines. I was contracted to invent 30 Star Wars concepts and then fly to California to pitch them. All of the concepts were hand-drawn—this was before computers were common in design.

Aaron, you work on many great projects, have you worked on any Star Wars concepts more recently that you can tell us about?

Yes, actually. Just last year, I worked on a handful of innovations for a concept submission to Hasbro for Star Wars. Like most toy inventions, they didn’t make it to market, but the opportunity to pitch Star Wars concepts is always fun.

What does Star Wars mean to you as a designer who work on toys?

Star Wars is the best, and I’d assume every toy designer has been touched by it in some way. I encourage everyone to work on Star Wars at least once in their life. And who knows—even you! If you have a Star Wars idea, I’d be happy to draw it up for you.

Thanks for reading —Aaron

VIDEO INTERVIEWS

ROAMING REDDERS BY JOHN REDENBACH

TO LEARN MORE OR FOR SPONSORSHIP INQUIRIES

tony@buggsolutions.com.au | 0418 321 837

Roaming Redders by John Redenbach

VIDEO INTERVIEW SERIES BY JOHN REDENBACH

Roaming Redders is a new product brought to you by Bugg Media and is hosted by John Redenbach who is a well-respected and decorated buyer from the Australian Toybiz and ATA Hall of Famer.

John recently retired and is now taking up freelance opportunities in the business and Bugg Media is fortunate to be able to engage Johns services for an all-new role speaking to Toy vendors about their ranges and new product launches.

This new segment is called “Roaming Redders” where John interviews business owners and industry executives at trade shows and attends showrooms for an indepth chat about the business.

Roaming Redders was recently launched at the 2025 Australian Toy Hobby & Licensing Fair and returned for the 2025 Mid-Year Preview by The Australian Toy Association. Roaming Reddershas received a strong endorsement and provided coverage for ATA exhibitors!

Roaming Redders is set to become a regular part of the Bugg Media landscape and provide informative and fun interviews for the Toy and Licensing business.

MAXIMISE YOUR TOY FAIR EXPOSURE

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A Premier Sponsorship Opportunity for the 2026 Toy Hobby & Licensing Fair in Melbourne is now available. Secure this exclusive offer to dominate the biggest stage for toys, hobbies and licensing!

Australia’s Favourite Kellogg’s Cereals Get a Protein-Packed Shake-Up

AN EXCITING COLLABORATION WITH MACRO MIKE

Australia’s favourite Kellogg’s cereals have been given a protein-packed shake-up with one of the most exciting collaborations the health food world has ever seen.

In a partnership brokered by brand extension agency, Asembl, Kellanova, the global cereal giant, has collaborated with Macro Mike to launch a limited-edition collection of protein powders inspired by three of the most legendary breakfast cereals of all time: Coco Pops®, Nutri-Grain®, and Froot Loops® for the Australian and New Zealand markets.

Now exclusively online at macromike.com au the range reimagines Australia’s favourite Kellogg’s cereals into smooth, creamy, 100% dairy-free and gluten-free plant protein blends with over 23g of protein per serve.

Kellanova Senior Manager Global Licensing & Culture Andy Martinek said, “We are

beyond excited to bring our iconic cereal brands together with Macro Mike, to delight and nourish consumers in new ways”.

Kellanova Senior Brand Manager Lauren Maddocks said, “This collaboration is all about bringing the flavours of Australia’s favourite cereals into more moments throughout the day. The Macro Mike team have done an incredible job of capturing the iconic taste of Coco Pops®, Nutri-Grain®, and Froot Loops® in a protein powder that’s just as delicious as the cereals themselves”.

Founder and CEO of Macro Mike, Mike Kellett, said, “We wanted to bring something to life that had never been done before. Cereal was such a huge part of our upbringing. It's indulgent, it’s clean, and it’s the best tasting protein we’ve ever released. This launch is expected to be one of our fastest-selling drops ever, following the viral success of

our partnership with Unilever Australia’s Street’s Golden Gaytime in 2024”.

Asembl Managing Director, Justin Watson, said, “An Aussie first for cereal lovers and fitness fans alike, this Kellogg’s and Macro Mike collaboration isn’t just a nod to Australia’s favourite Kellogg’s cereals, it’s a full-blown innovation in flavour, function, and fun”.

Made from premium almond and faba bean protein, the Kellogg’s collection of Macro Mike protein powders, which are crafted and blended in-house on the Gold Coast in Australia, are naturally sweetened with monk fruit and thaumatin.

The collection is available in 400g and 800g bags, bundle packs and limited-edition collector boxes. Alongside single bags, the collaboration includes a hero Mega Box (with all 3 flavours, a limited-edition Macro Mike x Kellogg’s shaker, and premium collector box) plus a Sample Variety Pack featuring 12 x 40g sachets so customers can taste all three flavours before committing to the big bags.

Direct wholesale and distribution across Australia and New Zealand will launch on November 1, 2025, reaching approximately 1,000 stores through distribution partners. This includes major supplement retailers such as Nutrition Warehouse, Supplement Mart, ASN, and Elite Supps, along with large gym chains, health food stores, and independent grocers. A push into supermarkets is planned for May 2026.

Bluey Expands Licensing to Delight Fans of All Ages Around the World

BBC STUDIOS UNVEILS GLOBAL LICENSING GROWTH ACROSS ALL CATEGORIES FOR BLUEY

The global phenomenon of BBC Studios' Bluey has rapidly evolved into a culturally resonant brand with multigenerational appeal. Following its fourth consecutive win at The Licensing Awards for 'Best Preschool Licensed Property,' Bluey is set to showcase exciting new opportunities at BLE 2025 across fashion, FMCG, toys, books, and more.

"Bluey’s ability to resonate across generations is what makes it so special," shared Suzy Raia, EVP, Global Consumer Products at BBC Studios. "As we expand into new categories and continue to deepen the brand’s presence across multiple markets, we’re enabling fans of the series to engage with Bluey in ways that go well beyond the screen, while nurturing deep roots for a globally beloved brand.”

FROM SCREEN TO EVERYDAY

LIFE

Bluey and her family are fast becoming part of everyday life. This expansion is evident across lifestyle products, from limited-edition Converse footwear and apparel to Bluey-themed toothpaste and Kellogg’s cereals. Key partnerships include Converse, Pottery Barn Kids, and Specsavers for children’s prescription glasses. In the U.S., fans can enjoy unique Bluey-shaped SpaghettiOs from The Campbell’s Company. The biggest Cotton On KIDS collaboration ever launched, spanning 11 countries, set new standards for licensed apparel.

The core toy category remains robust, with master toy partner Moose Toys expanding into Japan via TOMY, and LEGO® Bluey sets now launched globally.

GLOBAL MOMENTUM AND FUTURE GROWTH

Bluey remains one of the world’s mostwatched TV series, available in over 140 markets. It was the most-watched series globally on Disney+ and the most-streamed show of 2024 in the U.S. (Nielsen).

"We’re seeing extraordinary momentum for Bluey across EMEA and Asia, with strong demand from both partners and audiences," said Andrew Carley, Director of Licensing, UK/EMEA/Asia at BBC Studios. "The brand’s adaptability across cultures... is fuelling an exciting next chapter of growth ahead of the 2027 movie release."

Live events continue to be a huge draw, with audiences spending over 3 million hours attending BBC Studio Live Events in 2024. Highlights include Brisbane’s 'Bluey’s World,' named one of TIME’s World’s Greatest Places for 2025, and the stage show, Bluey’s Big Play, seen by over 2 million people worldwide. The first-ever Bluey coaster is also coming to CBeebies Land at Alton Towers UK in Spring 2026.

MUSIC, GAMING, AND PUBLISHING SUCCESS

Bluey's music has soared past one billion lifetime audio streams. Its publishing success, led by master partner Penguin Random House, is immense, with 28 million books shipped in the U.S. and 9.8 million sold in Australia.

"The success of Bluey’s publishing, music and gaming highlights how the brand has become part of entertainment culture on every level," concluded Stephen Davies, SVP Global Licensing at BBC Studios. "Whether children are dancing to Bluey songs, learning piano, or playing in digital worlds, these touchpoints deepen the brand’s connection with fans around the globe."

Looking ahead, anticipation is building for Bluey’s first feature film, set for a global theatrical release on August 6, 2027, under the Disney banner.

The Australian brand licensing industry began its modern era in 1974 with Fred Gaffney, who formed Gaffney International Licensing after securing Sesame Street representation, building on Disney's earlier presence. Gaffney promoted iconic brands like Thomas the Tank Engine and Bananas in Pyjamas and established a market heavily focused on Character and Entertainment. THE SPECIAL HARDCOVER BOOK IS SCHEDULED TO LAUNCH IN 2027

To learn more about the book visit: www.buggsolutions.com.au/books

This special hardcover book will celebrate the brand and licensing industry's golden era!

www.brandtrends.ai

BrandTrends Introduces a New Visual Identity

Reflecting Its Vision: Turning Complexity into Clarity

BORN FROM A DECADE OF INNOVATION, THE NEW BRANDTRENDS IDENTITY EMBODIES

CLARITY, PRECISION, AND THE POWER OF INSIGHT

BrandTrends Group, the global leader in market research, consumer insights, and licensing intelligence, introduces a new visual identity that embodies the company’s forward-looking vision and technological evolution.

The new logo, a sleek, circular digital network rendered in shades of blue, symbolizes the essence of BrandTrends: connectivity, innovation, and precision. It visually translates the company’s mission to turn the growing complexity of consumer data into clarity and actionable strategies for brands, manufacturers, retailers, and licensors around the world.

“This new identity reflects who we have become: a data powered, insight-driven company shaping the future of brand and licensing intelligence,” said Philippe Guinaudeau, CEO of BrandTrends Group. “Our mission remains the same: to empower companies with clear, data-driven understanding of how brands are perceived, evolve, and perform globally; but our tools and capabilities have evolved dramatically through AI, automation, and predictive analytics.”

Operating in over 40 countries, BrandTrends tracks the audiences shaping tomorrow’s markets, from children and families to kidults and adults. The company’s proprietary analytics, including the Brand Popularity Index, Consumer Demand Gap, and AI-powered LicenseSelector, provide unparalleled insights into brand equity, fandom, and purchase intent across entertainment, FMCG, lifestyle, and corporate sectors.

At the core of its intelligence stack lies one of the most comprehensive consumer databases in the world, built from over one million respondents and hundreds of millions of data points collected through continuous global tracking. This foundation allows BrandTrends to offer both a global perspective and local precision, helping clients identify opportunities, strengthen their brand strategies, and drive growth with confidence.

The refreshed identity aligns with the company’s core value proposition:

The clarity of a specialist. The scale of a leader. The authority the industry trusts.

Ar e You Ready

For Social Shopping & AI?

Social Shopping + AI are reshaping how families discover and buy. But winning isn’t just about transactions — it’s about appearing consistently credible and desirable wherever the shopper encounters you.

T he 6 Point Plan

1. Discovery Becomes Dialogue - Make First Impression Count

Audit your customer journey from content to checkout does your brand show up consistently at each step?

2. Shoppable Content + Rich Product Data - Turn Content Into Checkout

Create on-brand, AI-readable product stories that convert instantly across platforms.

3. Operational Readiness – Fulfilment & Brand Experience; Deliver the Brand Promise

From pick-pack-ship to returns, make every touchpoint part of your brand story

4. Community & Creator Partnerships with Brand Guardianship - Activate Authentic Partners

Put contracts, affiliate tracking and co-branding guidelines in place so you can scale partnerships without diluting your positioning.

5. Conversational Engagement & Branded Service - Bring Your Brand Voice to Chat

Deploy AI assistants and live reps that sound like you friendly, helpful and consistent

6. AI-Driven Analytics Across Marketing + Ops + Brand Health - See the Full Picture in Real Time

Track sales, sentiment and brand perception in one dashboard to adapt fast.

Looking For Guidance?

SituAction and Bugg Solutions help brands navigate this new commercial reality — combining strategy, operations and brand consistency from first click to fulfilment.

Australian

hobby& licensing

Melbourne Convention and Exhibition Centre