Issuu

RACE ON OVER TO BOOTH C260 TO DISCUSS FURTHER LICENSING OPPORTUNITIES inquiries@gtl-int.com

www.globaltrademarklicensing.com

Bahrain Testing. February 2026

TOTAL BRAND LICENSING

CONTENTS 8

Editorial Comment Thoughts from the editor

Global News News from the world of brands

The Roundel Effect From London’s transport icon to brand powerhouse

Haven Licensing Agent for the Ida Rentoul Outhwaite Estate

LMCA: The Curiosity Renaissance Shaping licensing’s next era

Interview: Lindsay Weaver Global Trademark Licensing talks automotive licensing

Brands at BLE What’s on show this year?

Global Media and Future Brands A new licensing chapter for Pink Key Licensing

MGL Has the Answers... Looking for artwork that makes your products stand out?

The V&A Expanding their global reach

How the RHS Dresses to Impress Florals are very much in fashion

Heritage, Reimagined Our biggest Museum and Heritage spotlight yet

The Natural History Museum Building momentum

Scotland’s National Art Collection Yours to discover

The National Trust Bringing heritage into homes

Minecraft Builds for the Future With CAA

Monte-Carlo Lifestyle The next chapter

Howard Robinson From licensed artist to puzzle supremo

Betty Boop The icon steps into her next era

Delicious Opportunities Expanding food & drink

Always In Which fashion brands are hot right now?

Beyond the Wallpaper Surface and Pattern Design

Can book titles be protected... As registered trademarks?

Nostalgia Without Memories Our regular columnist gives insights

Pick up your copy of Total Brand Licensing and Total Licensing at BLE stand E133 PAGE 6

TOTAL BRAND LICENSING

COMMENT TOTAL

BRAND LICENSING

A Total Licensing Group Publication CO-PUBLISHER Francesca Ash francesca@totallicensing.com CO-PUBLISHER Jerry Wooldridge jerry@totallicensing.com EDITORIAL DIRECTOR Rebecca Ash Ffrench becky@totallicensing.com OFFICE MANAGER Helen Bowerman helen@totallicensing.com EAST ASIA AGENT Roger Berman, ZenWorks rmb@zenworks.jp With thanks to all those who have contributed to this issue. HEAD OFFICE Total Licensing Ltd 43 Vinehall Business Centre, Vinehall Road, Mountfield, Robertsbridge, TN32 5JW Tel: +44 (0) 1892 782220 www.totallicensing.com

A very warm welcome to this issue of Total Brand Licensing! There is something about the run-up to Brand Licensing Europe that always makes the industry feel that little bit more energetic. The inbox gets busier, diaries fill up, people start making plans to meet, and there is a real sense that everyone is looking ahead. Putting this issue of Total Brand Licensing together has reminded me just how much the industry continues to change — and how much more interesting that makes it. One of the things I love most about licensing is the fact that it never really stands still. We are seeing heritage brands moving into fashion and lifestyle, food and drink brands becoming collectable, automotive names finding completely new audiences, and entertainment properties becoming lifestyle brands in their own right. The old dividing lines between sectors are becoming increasingly blurred, and I think that is where a lot of the most exciting opportunities are now appearing. BLE is always a brilliant place to see that in action. Where else can you spend one meeting talking about a heritage institution, the next discussing a major entertainment property, and then find yourself looking at opportunities in sport, fashion, gaming, art or food and drink? It is one of the reasons the show remains such an important date in the calendar. Something else that has really stood out to me this year is the importance of authenticity. There are more collaborations than ever, but the ones that really work are still those that make immediate sense. Consumers are clever. They know when a partnership feels natural, and they know when it does not. For all the talk about new platforms, new audiences and new technology, the fundamentals remain remarkably simple: understand your brand, understand your audience and choose the right partners. As we head towards 2027, there is certainly no shortage of opportunity. New categories are opening up, audiences are changing, and brands are becoming much more adventurous in the way they extend themselves. For now, though, I am looking forward to BLE, catching up with familiar faces, meeting some new ones, and no doubt coming away with far too many ideas for future issues.

Total Brand Licensing is published quarterly by Total Licensing Ltd in the UK. ©2026 Total Licensing Ltd. All rights reserved. No part of this magazine may be reproduced or transmitted in any form or by any means whatsoever without written permission of the publishers and owners. Although persons and companies mentioned herein are believed to be reputable, Total Licensing Ltd nor any of its employees accept any responsibility whatsoever for their activities.l images are reproduced with permission from their owners.

PAGE 8

See you there!

Rebecca Ash Ffrench Editorial Director

TOTAL BRAND LICENSING

POWER UP YOUR POSSIBILITIES. DISCOVER LOTUS LICENSING AT BOOTH C260. inquiries@gtl-int.com www.globaltrademarklicensing.com

NEWS

Fabacus Launches Verified Intellectual Property (VIP) Protocol, with Amazon as Lead Launch Partner Fabacus, a data-as-a-service technology company for retail and licensing, has announced the launch of its Verified Intellectual Property (VIP) Protocol, with Amazon as its lead launch partner. VIP creates a secure and standardised way for verified, SKU-level licensed product data to be shared between licensors, licensees and retail platforms, helping officially licensed products to be identified more accurately across marketplaces, social commerce, search engines and AI platforms. Licensed consumer products sit at the intersection of product identity, intellectual property rights, creative approvals, commerce and consumer trust. Traditional licensing workflows operate across multiple systems and stakeholders, resulting in fragmented, incomplete and often unverifiable product data. Until now, there has been no consistent industry mechanism or infrastructure to ensure that products manufactured under branded IP licenses can be reliably identified and verified at SKU level. VIP introduces a standardised and timely product registration service that captures the right product data at the right time, creating a trusted and verifiable system of record. Through a secure shared protocol, this data can be made available to approved partners, enabling retailers and marketplaces to verify relevant product information and listings, improve the discoverability of officially licensed products and support stronger consumer trust. Through its proprietary Xelacore platform, Verifiable Product Registration service and Know Your Products (KYP) system, Fabacus has built the infrastructure to make licensed products more identifiable, trustworthy and machine-actionable. This is increasingly important for marketplaces, online retailers, social commerce platforms, search engines and AI-driven or agentic commerce. VIP provides the secure framework through which approved partners can access and use this data to verify licensed product information and listings. Fabacus has announced it has confirmed Amazon as the lead launch partner for VIP. The collaboration is intended to bring the licensing industry closer to the retail landscape by making authoritative licensed product data more accessible and usable within commerce environments. Fabacus already works with a significant cross-section of the industry, including Paramount, NBCUniversal, Hasbro, Fanatics, IMG and others, collectively connected to thousands of licensing partners globally, and is working with a growing group of additional partners expected to join VIP in quick succession.

Chatelaine Interiors & The Royal Pavilion at Brighton Launch Collection Chatelaine Interiors has announced its first fabric collection under licence from The Royal Pavilion at Brighton, translating some of the palace’s finer decorative details into a series of fabrics designed for contemporary interiors. The bespoke soft furnishings company has long been asked by clients whether it offers its own fabrics. For its first collection, Chatelaine has drawn inspiration from The Royal Pavilion at Brighton — a complete decorative world renowned for its bold colour, intricate design, exceptional craftsmanship and visual drama. Rather than reproducing the Pavilion’s most familiar imagery, Chatelaine has looked to its quieter details, exploring the decorative richness of the interiors through four small-scale designs. Each has an authentic connection to The Royal Pavilion: Pavilion Blossom takes inspiration from the floral wallpaper in the corridor outside Queen Victoria’s bedroom; Royal Lattice draws on geometric ceiling detail within the palace; Imperial Vine reinterprets a stylised botanical motif; and Regency Arch explores the positive and negative shapes created by the Pavilion’s distinctive Indian style architecture. The collection reflects Chatelaine’s experience in creating soft furnishings for today’s interiors. The company has focused on small-scale patterns that can work across curtains, Roman blinds, cushions and upholstered pieces, while retaining a clear connection to the decorative world that inspired them. PAGE 12

TOTAL BRAND LICENSING

NEWS

Further Partners for CBGB and OMFUG

Global Merchandising Services has announced a growing roster of licensing partners for CBGB & OMFUG, the “Home of Underground Rock” and the legendary birthplace of punk and new wave, bringing the iconic New York music brand to a new generation of fans through new fashion, accessories and lifestyle collaborations. The expanded program came ahead of the second annual CBGB Festival at Brooklyn’s Under The K Bridge on Friday September 25 and Saturday, September 26. The new and expanding licensing program includes collaborations with John Varvatos, Dixxon, Greasy Hands Society, Civil Regime, Lauren Moshi and Boy Vienna, among others, delivering distinctive apparel and lifestyle products inspired by CBGB’s unmistakable visual identity and cultural legacy. The partnerships build on Global Merchandising Services’ strategy to extend CBGB beyond its historic roots as a legendary music venue and into a broader lifestyle brand rooted in music, fashion, art and self-expression. “CBGB is one of those rare brands where the history is incredibly powerful, but the attitude remains completely relevant,” said Lisa Streff, SVP of Licensing & Brand Development, Global Merchandising Services. “Our goal is to work with partners who understand what made CBGB so influential while bringing their own authentic creative perspective to the brand. The response from our partners has been fantastic, and we’re excited to see the program continue to grow across fashion and lifestyle categories as CBGB reaches both longtime fans and a new generation discovering its legacy.” The CBGB Festival kicks off Friday, September 25 with The Prodigy, Brutalismus 3000, Sextile and Lip Critic, followed on Saturday, September 26 by the main CBGB Festival featuring Patti Smith, Morrissey, Interpol, the Sex Pistols with Steve Jones, Paul Cook and Glen Matlock featuring Frank Carter, Bikini Kill, Agnostic Front, Buzzcocks, Circle Jerks, High Vis, Mannequin Pussy, Militarie Gun, UPCHUCK and other artists spanning generations of punk and alternative music. The festival will also bring the CBGB brand to life through vintage and new merchandise, local food and beverage offerings, immersive installations and artifacts from the original club, connecting punk’s storied past with its evolving future.

NEWS

Parfum Collection from Laura Ashley Laura Ashley has announced its new Parfum Collection with four new fragrances. Underpinned by over seventy years of design excellence, the collection marks a sophisticated evolution for the brand, marrying its quintessentially British heritage with the prestige of fine French perfumery. Inspired by the treasures of the Laura Ashley archive, the collection brings signature prints to life through four distinct fragrances. Undeniably elegant and unmistakably joyful, each spritz invites exploration and escapism, while keeping the brand’s signature nostalgia at its heart. Developed in collaboration with the world-renowned French fragrance house, Robertet, and acclaimed perfumers Clément Marx and Romain Almairac, the line distils the alluring beauty of the British outdoors, capturing the spirit, texture, and mood of wild meadows, blooming gardens, and soft countryside air, creating a collection that feels both nostalgic and newly relevant. Created with a unique blend of high-quality natural raw materials; responsibly and ethically sourced ingredients pay tribute to the splendour of global biodiversity. The collection is filled and assembled in Laura Ashley’s home country of Wales. Each fragrance is presented in a beautifully crafted bottle unique to its scent. Inspired by Laura Ashley’s heritage and craftsmanship, delicate bows adorn each bottle, adding a touch of British charm to the fine fragrance collection.

Our Strange Duet Hits No. 1 On NY Times Bestseller List LW Entertainment has announced that Our Strange Duet by Erin A. Craig has debuted at Number 1 on The New York Times, Young Adult bestseller list following its first week on sale in the United States. Published by Delacorte Press, an imprint of Random House Children’s Books, Our Strange Duet reimagines Andrew Lloyd Webber’s Phantom of the Opera through the eyes of Christine Daaé. The novel places Christine’s emotional journey at the centre of the story, exploring her rise to fame and the choices she faces amid love, ambition and the haunting secrets of the Opéra Populaire. Our Strange Duet is part of the 40th anniversary celebrations for Phantom of the Opera, which marks 40 years in London’s West End this October. Since 1986,Phantom of the Operahas become a global phenomenon, winning over 70 major awards all over the world with productions playing to 160 million people in 217 cities, 52 territories and in 23 languages. James McKnight, CEO of LW Entertainment, said: “Our Strange Duet is a true love letter to Andrew Lloyd Webber’s timeless masterpiece and to generations of Phantom of the Opera fans. To see readers embrace Christine’s story so passionately and carry this wonderful book to Number 1 on The New York Times bestseller list in its first week is a joy to see. Erin has brought such insight, emotion and imagination to this world, and we couldn’t be prouder of what she and our partners at Penguin Random House have achieved. The book was developed in collaboration with those close to the production and forms part of the worldwide multi-format publishing partnership between Penguin Random House and LW Entertainment celebrating 40 years of Andrew Lloyd Webber’s Phantom of the Opera. The launch demonstrates the growth of LW Entertainment’s global consumer products business and its evolution as an entertainment licensor, with a strategy designed to take its celebrated stories and characters beyond the stage and create new ways for audiences to engage with them year-round. PAGE 14

TOTAL BRAND LICENSING

NEWS

Curtis International in Exclusive Agreement with Kenmore Curtis International has announced that it has entered into an exclusive licensing agreement with Kenmore to manufacture, distribute, and market Kenmore-branded appliances across major consumer and commercial categories in North America. The strategic partnership brings together the heritage and consumer trust of the Kenmore brand, a name recognized by millions of households, with Curtis International’s extensive manufacturing capabilities, product development expertise, and broad retail and distribution network. Under the agreement, Curtis will expand the Kenmore appliance portfolio across a range of categories, including refrigeration, small kitchen appliances, commercial appliances, and other major appliance categories. The partnership is designed to deliver a broad selection of products that combine the Kenmore brand’s longstanding reputation with Curtis’s ability to develop, source, manufacture, and distribute products at scale. “Kenmore is one of the most recognized and trusted names in appliances, with a remarkable history of serving American and Canadian consumers,” said Aaron Herzog, CEO of Curtis International. “We are excited to partner with Kenmore and build on that legacy by bringing innovative, high-quality products to consumers and businesses across North America. This agreement represents a significant expansion of our appliance portfolio and creates tremendous opportunities for both organizations.” The agreement further strengthens Curtis International’s position as a diversified appliance manufacturer and distributor. The first products under the agreement are expected to launch in Q4 2026, with additional categories and products to be introduced over time. “For over one hundred years, Kenmore has been one of North America’s most trusted names in quality appliances. We look forward to our partnership with Curtis International to continue to grow and delight customers in the US and Canada,” said Matthew Robbins, CEO of Kenmore & Brands.

Beryl Cook Book Officially Launches The book is by Hilary Bracegirdle. Beryl Cook (1926–2008) was renowned for her exuberant paintings yet she remained a famously private figure. Now, thanks to unprecedented access to a recently rediscovered family archive, a fuller picture of Beryl emerges. This illustrated volume shares images many of which have never been published before. Thousands of letters, photographs and personal papers found in the attic reveal the networks of friends, family, business partners and creative collaborators who shaped her career. Correspondence with figures such as photographer Barbara Ker Seymer, art critic Edward Lucie Smith and drag artist Ruby Venezuela captures the lively, witty world she inhabited, while hundreds of fan letters show how deeply her work resonated with those who felt unseen, from middle aged women to LGBTQ+ and working-class communities. Alongside this treasure trove of material, the book offers new insight into Beryl’s methods and inspiration, shedding light on the private technique behind her unmistakable style. We meet her family and pets and follow her through the Plymouth and Bristol streets she adored. Published at a moment of renewed interest in her art, this biography forms part of an overdue reassessment that places Beryl beyond the limiting label of ‘naive’, acknowledging both her skill and her deep empathy for those she depicted. This book offers the most vivid and intimate picture yet of a singular artist, carrying with it a large amount of leopard print and dollops of saucy humour. Hilary Bracegirdle has enjoyed a career as a curator and director in a variety of museums, starting with the V&A in London. She continues to be in demand for her lively talks about Beryl. TOTAL BRAND LICENSING

PAGE 15

TfL

The roundel effect:

From London’s transport icon to global brand powerhouse

Over the past year, Transport for London (TfL) Licensing has continued to demonstrate the extraordinary strength of London’s transport heritage as a commercial and cultural asset. A series of high-profile collaborations, have further cemented its position as one of the UK’s most compelling brands. In April, the TfL roundel was named by the UK Intellectual Property Office as one of Britain’s top 10 most iconic trademarks, highlighting that the simple red circle with blue bar is not just a transport logo, but a global symbol of London itself, recognised for its design and enduring presence in everyday life. This was celebrated in the latest release from TfL’s longterm partner, London Sock Exchange, with their launch of The Roundel sock! That strength of brand continues to attract world-class partners. Building on the success of their first collection, TfL x Pom Pom London launched a second collection inspired by the capital’s iconic Tube lines. The partnership demonstrates how TfL’s design assets can successfully bridge heritage and contemporary trends while appealing to both Londoners and international audiences. Expanding TfL’s reach into new consumer categories, the brand partnered with global tech-lifestyle brand Casetify. The collaboration brought London’s transport identity to a worldwide audience through a collection of premium technology accessories, showcasing how TfL’s creative assets continue to resonate well beyond traditional licensing sectors.

PAGE 16

passionate about building connections with the communities we serve, and this collaboration is a natural expression of our commitment to the city. By combining TfL’s rich heritage with UNIQLO’s LifeWear philosophy, we hope to create something that resonates with Londoners and visitors alike while celebrating the unique spirit of the capital.’ Looking ahead, the momentum shows no signs of slowing. Exciting plans are underway for a new location-based entertainment partnership, a chance for audiences to engage with London’s transport story through immersive

Meanwhile, the long-standing partnership with luxury interiors brand, Kirkby, reached another milestone with the launch of UNDERGROUND VOL. III. This third collaboration between TfL and Kirkby is a collection of sumptuous velvets that re-imagines historic moquette patterns from TfL’s archive with trend-led colour palettes. Fashion has remained a standout category, with UNIQLO also returning for a third collaboration. The latest collection introduced new print-on-demand designs, expanded embroidery offerings and celebrated London’s transport network through wearable fashion. Significantly, TfL has now become UNIQLO UK’s most returning collaboration partner, underlining both the commercial success of the partnership and the enduring appeal of the brand. As Alessandro Dudech, UK COO at UNIQLO, said, ‘We are delighted to continue our partnership with Transport for London for a third time, celebrating one of the city’s most iconic institutions through a collection that reflects the creativity, character and everyday movement of London. At UNIQLO, we are

experiences. There will be new tech accessories launching, exciting new fashion accessories and further international expansion. TfL will also take over the floor plan at Brand Licensing Europe 2026, with their children’s style guide taking centre stage. TfL is no longer simply extending a transport brand into products and experiences. It is curating a global expression of London’s culture, creativity and identity. From globally recognised trademarks and international retail partnerships, the past year has been one of significant growth, proving that London’s most iconic brand continues to inspire audiences around the world. To find out more, contact: BrandLicensing@tfl.gov.uk TOTAL BRAND LICENSING

FAIRYLAND

Haven Appointed as Licensing Agent for the Ida Rentoul Outhwaite Estate More than a century after captivating audiences with her enchanting depictions of fairies, elves and the Australian bush, Ida Rentoul Outhwaite remains one of Australia’s most celebrated artists and storytellers. Recognised as a pioneer of Australian children’s literature and fantasy illustration, Outhwaite published her first book, Milly’s Bunyip, at just 15 years of age, beginning a remarkable creative career that would leave a lasting mark on Australian culture. Her beautifully detailed illustrations and imaginative storytelling captured the wonder of childhood and established her as one of the country’s most beloved creative figures. The significance of Outhwaite’s work extended far beyond the page. Her exhibitions attracted national acclaim and were opened by distinguished figures including Dame Nellie Melba and Governors-General. Today, her work is represented in major Australian collections including the National Gallery of Australia, the National Gallery of Victoria and the Art Gallery of New South Wales. Among her most treasured works are Elves and Fairies and Fairyland, publications regarded as landmark achievements in Australian publishing history. These iconic books helped define

PAGE 18

generations of childhood imagination and earned international recognition. With renewed interest in heritage brands, storytelling and authentic artistic properties, Outhwaite’s work continues to resonate with contemporary audiences. Her enchanting vision of fairies, mythical creatures and magical Australian landscapes remains as relevant today as it was when first created, connecting with consumers through its timeless beauty, imagination and emotional appeal. Australian agents Haven has been appointed as the global licensing agent for the Ida Rentoul Outhwaite Estate, with a focus on introducing the celebrated artist’s work to new audiences through carefully curated partnerships, products and experiences. The appointment will see Haven develop a strategic licensing program that honours Outhwaite’s artistic legacy while creating contemporary opportunities across categories including homewares, apparel, gifting, publishing, stationery, art, exhibitions and collaborations. An early example of the brand’s ongoing relevance was the highly successful Kip&Co x Fairyland collection, launched in 2026. The collaboration translated five original Ida Rentoul Outhwaite artworks into a contemporary lifestyle range spanning 21 products, bringing

Fairyland to life across bedding, sleepwear, apparel, accessories and baby products. Rather than simply reproducing vintage illustrations, the collection reimagined Outhwaite’s artwork for modern consumers while preserving the integrity and charm of the original designs. The partnership demonstrated how heritage artwork can be thoughtfully adapted for contemporary retail, creating meaningful connections between a treasured Australian artist and a new generation of families. For the licensing industry, the success of Kip&Co x Fairyland highlighted the growing demand for properties that offer authenticity, artistry and emotional connection. It also showcased the enduring commercial potential of Outhwaite’s work when paired with partners who share a commitment to creativity, craftsmanship and storytelling. As Haven begins its stewardship of the licensing program, the focus is on expanding the reach of Ida Rentoul Outhwaite’s extraordinary body of work while ensuring her legacy continues to inspire future generations. More than 100 years after Fairyland first captured imaginations, Ida Rentoul Outhwaite’s magical world continues to enchant audiences, proving that truly timeless storytelling never loses its wonder. For licensing enquiries contact Diana Markezic at Haven Global diana@havenglobal.com

TOTAL BRAND LICENSING

LMCA

The Curiosity Renaissance Shaping licensing's next era HP Projector, hp-projector.com

By Ashley Siler, VP of Sales & Marketing, LMCA

Give two people the same set of building blocks and they may see entirely different assignments. One sees the finished model pictured on the box. The other has an idea of what could be built and starts turning the pieces over, looking for a way to make it happen. Both can build what is pictured. But only one wonders what else the pieces might become. Vision gives possibility a destination. Curiosity finds the way there. For 40 years, LMCA has solved our clients’ complex business problems using licensing as the tool. Not as the strategy itself. Not as a formula reserved for extending brands into new products and territories. But as a flexible, curious tool that can be applied to a wide range of challenges as soon as you break down PAGE 20

the perceived sharp edges. The point is not to find a licensing opportunity and persuade the business to fit inside it. It is to understand the business problem and determine whether licensing can help solve it. That way of thinking has shaped LMCA since 1986: a curiosity that pushes beyond the expected, questions the perceived limits of licensing, and searches for opportunities that may not yet have an obvious name or place on a category map. Today, that mindset is experiencing a renaissance as new tools, new industries, and bigger business questions expand what licensing can make possible. It is also behind another familiar LMCA belief: when licensing begins with a genuine business need, it rarely feels like an extension. It feels like the natural answer: something

that should have existed all along. For years, businesses admired the outcome without realizing the mechanism behind it. But success leaves clues. In our conversations with business leaders, we see a shift happening. Companies across industries are recognizing that licensing can sit behind smart expansions, unexpected innovations, and elegant solutions, quietly doing work few thought to ask of it. HP and Castrol show two distinct ways licensing can solve a business problem. One allowed a company to re-enter an exited market; the other created global capability through coordinated regional expertise.

A return without compromise

Strategy requires knowing what not to do. Curiosity is the pause that pushes you to take a second look. HP, a multinational technology company, TOTAL BRAND LICENSING

LMCA

first entered the projector market in 2002, building a respected portfolio of portable, business-focused products. As its priorities evolved, the company eventually stepped away from the category. But projection did not stand still. Smaller, smarter devices were moving beyond the conference room and into homes, entertainment, and everyday life. The market had an appetite for the trust and credibility HP brought to consumer technology. By looking again, HP recognized that it did not have to choose between its new business priorities and the value still available in the category. Licensing offered another path. In 2016, Dan Croft, HP’s Strategic Licensing Manager, selected LMCA to serve as the company’s exclusive licensing agency. His early conversations with founder Allan Feldman captured the approach that continues to define LMCA today. “Allan has an exceptional intuition for licensing. He understands not only what it is, but what it can do for a company. And he has the creativity to see possibilities that just make your eyes light up.” That instinct extends across a team that looks beyond the mechanics of licensing to see what it can make possible for a business. Working as HP’s agency, LMCA evaluated potential partners against the expertise, market knowledge, and brand commitment the company required. The resulting partnership brought portable, home-theater, and lifestyle products to the global projection market. HP did not return by recreating the business it had left. It saw what the category was becoming and found a new way forward. The result does not look like licensing. It looks like something that should have existed all along.

opportunity was bigger than oil. Castrol saw the potential to build a broader carcare ecosystem that would serve more of the consumer’s needs while reinforcing the business at its core. The vision was clear; but the conventional route involved several hurdles. Building a global car care business in-house would require new product capabilities, supply chains, regulatory expertise, and distribution relationships. Replicating that infrastructure across continents would take time. So Castrol and LMCA asked a more useful question: Could Castrol bring a premium program to market globally without building the entire business itself? “We saw an opportunity for Castrol to play a broader role in car care. The ambition was global, but we did not want speed to come at the expense of quality, credibility, or the trust consumers place in the brand.” — Esha Saha, Global Brand Licensing Lead, Castrol The answer could not be one global partner. Safety standards, distribution channels, and market requirements varied too widely. Instead, LMCA helped Castrol build a coordinated network of top-tier regional

specialists. Each brought the capabilities Castrol would otherwise have needed to develop: category expertise, local infrastructure, regulatory knowledge, and established routes to market. One vision. Multiple partners. A faster path from idea to execution. The program extended Castrol across the automotive aftermarket - from filters and batteries to car care, films, and braking systems, reaching markets across four continents. Licensing built an ecosystem around Castrol’s core, creating new ways for the brand to participate in the vehicle-maintenance moment while driving equity back to its lubricants business.

New builders. New blueprints.

The next era of licensing will not be defined by more categories, but by bigger questions. How can a company enter a new market without spending years building the infrastructure? How can it preserve a valuable offering while concentrating resources elsewhere? These are business questions. And increasingly, licensing will be part of the answer. We see licensing becoming a more deliberate tool for growth, innovation, and transformation, giving ambitious ideas a faster route from possibility to reality. This shift will bring a new generation of

An ambition without borders

For Castrol, the opportunity began in the garage. An oil change is rarely an isolated event. Filters, fluids, tire pressure, and the overall condition of the vehicle are part of the same maintenance moment. Castrol was already known worldwide for premium lubricants, with deep credibility in performance and motorsports. But the TOTAL BRAND LICENSING

Assortment of Castrol filters, Europe.

PAGE 21

LMCA

licensors into the industry. Many will not look like the companies that built the modern licensing business. They may not have consumer-products divisions, established category maps, or teams built around traditional brand extensions. Some will come from technology, healthcare, manufacturing, infrastructure, and other industries where licensing has largely been absent. But they will have something powerful: trusted names, specialized knowledge, valuable intellectual property, and a vision for where their businesses could go next. And they will be big. Not simply in scale, but in influence. These companies will become major players in licensing, expanding the industry’s reach and reshaping what it is capable of delivering. They will not enter licensing because they want to put their logo on more products, but because they see a business problem that conventional thinking cannot solve quickly or efficiently enough. They will need partners who can translate their ambitions into the right categories, markets, relationships, and operating models without losing sight of the business at the center of it all. That is where LMCA is helping shape what comes next. Four decades in licensing have given us more than experience. They have given us a clear view of how its role is changing. Throughout those years, we have pushed licensing beyond its familiar boundaries by beginning with the client’s ambition, not the mechanics of the deal. Today, we are pairing that perspective with deeper global coordination, proprietary technology, faster intelligence, and new ways of identifying connections that may once have been impossible to see. Under CEO Ciarán Coyle’s leadership, LMCA is carrying that perspective into its next chapter. Ciarán began his career as an educator, an experience that continues to inform how he leads: making complex ideas clear, asking the good questions, and helping others see new possibilities. “Curiosity is not abstract. It is a discipline: asking questions, examining assumptions, and creating the conditions in which people, partnerships, and ideas can succeed. That is PAGE 22

how we will continue to lead LMCA and help licensing earn a larger role in the business decisions ahead.” — Ciarán Coyle, President & CEO, LMCA Progress will still begin where it always has: with someone curious enough to look at what is and imagine what else it could become. Vision imagines what could exist. Curiosity keeps testing the route. The people who shape the future bring both together. The curious visionaries will see licensing not simply for what it has been, but for what it can do. And they will build the businesses, partnerships, and possibilities that the rest of the world will one day look at and think: Of course. That should have existed all along. A conversation with Ximena Duque, SVP of Global Client Services and Managing Director of Latin America, LMCA What do you do at LMCA? You know, like most people at small firms, I wear multiple hats. I’m the SVP of Global Client Services, which means I’m focused on how we support our clients and connect the work happening across our markets. But I’m also the Managing Director of Latin America. And honestly? They’re not separate jobs. They feed each other. Being hands-on in Latam means I see what our global clients actually need. Then I bring that back to Global Services, and it informs everything we do. Over the past year, we have grown our Global Client Services team three-fold to meet our clients’ expanding needs. And here’s what’s shifted: licensing is no longer relegated to a small department operating quietly in the background. More functions are involved, leadership is paying closer attention, and programs increasingly connect to wider business priorities. Document review used to take weeks. Now we’re doing it in minutes. I also engineered the development and training of several of LMCA’s proprietary AI platforms. We use them for market intelligence, legal document reviews, and partner vetting. But here’s what sets us apart: we didn’t just plug in generic tools. We built these with our clients’ security baked in, and customized to the exact needs of each brand

we serve. The technology helps us examine more information and identify important patterns faster. But its value still depends on the people asking the right questions. So yes, a few hats. AI is clearly here to stay. What’s your take on how it will affect the licensing industry? The future has, and always will, belong to the curious. It belongs to people who know enough to ask the right questions and still want to discover what happens next. AI has given curious people a way to satisfy that curiosity faster. It can help us search, test, compare, and learn at a speed that wasn’t possible before. But it will never replace the curious. The thinkers. The people who want to build. Technology can process information. It cannot decide what is worth pursuing. It cannot replace judgment, imagination, or the ability to understand what a client really needs. The advantage does not belong to the people with the most technology. It belongs to the people who remain curious about what they can do with it.

“AI gives curious people a way to satisfy their curiosity faster.” – Ximena Duque, SVP of Global Client Services

Please visit us at Booth B251

TOTAL BRAND LICENSING

LMCA

PAGE x

TOTAL BRAND LICENSING

GLOBAL TRADEMARK LICENSING

Total Brand Licensing talked to Lindsay Weaver, Director of Global Trademark Licensing to find out more about the company and it’s growing automotive brand business. together. A licensing programme has to fit within that wider structure. We’ve been working in automotive for nearly 20 years, with several team members having 30 years’ experience in the industry. That gives us a deep understanding of automotive and the pressures OEMs face, helping us ensure brand extensions support the wider business.”

Who are Global Trademark Licensing, and what does the company offer? Lindsay Weaver: “Global Trademark Licensing, or GTL, is a specialist agency focused on automotive brand extensions. We help automotive brands extend their trademarks into products, collaborations and experiences that customers genuinely want. Licensed products and partnerships allow people to engage with a car brand beyond the vehicle itself. It’s about understanding what a brand means to its owners and fans, and finding relevant, credible ways for them to experience that brand in different parts of their lives.

What makes GTL different from other licensing agencies? Lindsay Weaver: “The biggest difference is simple: automotive is all we do. As a team, we come from the industry. We have a depth of knowledge and experience,

speak its unique language and have a genuine passion for automotive. For GTL, automotive isn’t one part of our business — it is our entire focus. We understand that an automotive badge represents decades of engineering, design, safety standards, customer relationships and brand history. When you put that badge on another product, there is a responsibility that goes with it. The product needs to reflect the qualities and standards of the brand and be a genuine fit. Every OEM is different, so there isn’t one standard approach. Each brand has its own relationship with its owners and fans and a carefully crafted story to tell. Our duty is to bring that story to life through programmes that combine the mechanical and the emotional in a way that fits each individual brand. Our specialist knowledge also helps us navigate the many stakeholders involved, from brand and marketing through to legal, compliance, product and dealer teams.

Automotive is a specialised industry, with product development cycles, brand architecture, dealer networks, legal requirements and compliance standards all needing to work

For us, it’s about depth rather than breadth. We would rather be experts in one industry than generalists across many.”

PAGE 24

TOTAL BRAND LICENSING

GLOBAL TRADEMARK LICENSING You’ve spoken about your industry knowledge and experience, but what else makes GTL stand out for you? Lindsay Weaver: “That’s an easy answer — our people, our network and our processes. Across the team, there is more than 200 years of licensing experience. That gives us the understanding and judgement needed to recognise potential issues before they become problems. Our leadership team are hands-on with each licensing programme, from outset to completion, ensuring our clients have direct access to that expertise. Then there’s our network. We work with more than 150 licensees, suppliers and partners, carefully selected based on the quality and standards required for automotive brands. That helps us identify the right partner for an opportunity while maintaining control over who represents the brand. Finally, there are our processes. As a boutique business, GTL relies on centralised processes to keep the key elements of licensing together — including approvals, compliance, data and assets. The real strength comes from combining all three: our people provide the experience, our network provides the right partners, and our custom-built processes provide the structure and visibility to manage everything effectively.”

Why are brand protection and compliance so important in automotive? Lindsay Weaver: “Because protecting the brand is more important in automotive programmes than the revenue generated. Done right, licensing can generate significant, long-term additional revenue. But if the programme damages the brand’s reputation, it hasn’t been successful. A bad product or unsuitable partner can have an impact far beyond one product.

TOTAL BRAND LICENSING

That’s why brand protection, safety and compliance are built into the programme from the beginning — from strategy and partner selection through to product approval and monitoring. Everything needs to be properly checked and documented. That creates accountability and gives the OEM confidence that decisions have been made properly. Ultimately, a brand is only as protected as its latest approval decision, so we take every decision seriously. For us, commercial success and brand protection aren’t competing objectives. A good programme should deliver both.”

How is AI changing automotive licensing and the way GTL works? Lindsay Weaver: “AI is already helping us, but we see it as a tool rather than the main story. AI can help us work more quickly with approvals, data, assets and compliance information, particularly when a programme involves hundreds of products and decisions. It can identify patterns, organise information and highlight areas that need attention. The important thing is knowing where AI adds value and where human judgement is still needed. Anything produced or supported by AI is reviewed by our people before it goes to an OEM. AI can process information quickly, but it doesn’t have the same understanding of an individual brand, its history, customers or culture that an experienced licensing professional has. For us, technology is there to make good

processes better. It can save time and manage large amounts of data, but it doesn’t replace experience. Licensing is still a relationship-driven business. AI helps us work more efficiently, but people remain at the heart of the business.”

What advice would you give an automotive brand starting a licensing programme? Lindsay Weaver: “The first piece of advice would be to put brand integrity first, not last. It can be tempting to look at licensing simply as a means to create additional revenue, but the starting point should always be the brand. Ask whether a product, category or partner genuinely fits with what the brand stands for and what its customers expect. The second thing is to work with people who really understand automotive. There are specific challenges around model cycles, dealer networks, legal frameworks and compliance that don’t always exist in other industries. That expertise can save time and avoid problems later. Finally, be realistic about the time PAGE 25

GLOBAL TRADEMARK LICENSING

and resources required. A successful licensing programme doesn’t run itself. Partners need to be managed, products reviewed and compliance monitored throughout the programme. It is a continuing process rather than a one-off project. That’s where GTL, as a specialist agency, can add real value. We provide the experience, relationships and processes needed to manage those responsibilities while allowing the OEM’s team to focus on its wider priorities. The goal should be to build a programme that can grow over time without losing control of the brand.”

What does GTL’s tagline, “Automotive brand extensions. Engineered.” mean to you? Lindsay Weaver: “To me, “Engineered” is about being deliberate and thorough.

Engineering means making sure nothing is left to chance. You test things, consider the details and build to a standard. That’s very similar to how we believe automotive brand extension should work.

So Lindsay, what’s next for GTL?

We don’t see licensing as simply putting a badge on a product. A successful programme needs to be carefully planned around the automotive brand — understanding the brand, selecting the right opportunities, categories and partners, managing approvals and maintaining quality.

That said, we’re not standing still. We’ve made some interesting moves recently, including bringing Jennifer Lawlor on as Head of Sales for EMEA. Jen’s marketing experience and knowledge of the entertainment side of the business have brought a fresh perspective to GTL as we look to the future.

It also means being prepared to say no when something isn’t right. Not every opportunity is a good opportunity for every brand. Sometimes protecting the brand means choosing not to pursue a particular product or partnership.

While the team remains firmly automotive-focused, we’re open to new opportunities to develop the business — whether through new automotive partnerships, smarter business processes or potentially opportunities in

That discipline is an important part of what we mean by “Engineered.” We want clients to know their brand is being treated with the same care, attention and rigour they would expect from their own teams. While the technology and tools will continue to evolve, that underlying approach won’t change. We will continue to focus on doing things properly, protecting the brand and creating opportunities that deliver genuine value. So “Automotive brand extensions. Engineered.” is more than a tagline. It describes how we work and the promise we make to our clients.”

PAGE 26

Lindsay Weaver: “The business is in a good place. We have a strong roster of automotive brands, established licensing programmes, a team of experienced experts and a clear focus on a sector of licensing we’re passionate about.

adjacent sectors where our expertise can add value. We’re in a position to build on what we already have without losing the specialist focus that makes GTL different. That means continuing to strengthen our existing programmes while looking for the right new brands, partners and opportunities to work with.” So if you’re at BLE, come and meet the GTL team at Booth C260. We’re always interested in talking to brands and partners who want to explore what’s possible. TOTAL BRAND LICENSING

BRAND LICENSING EUROPE (BLE)

Brands Making Waves at BLE From museum archives and botanical collections to artist portfolios and corporate brands, this year’s Brand Licensing Europe exhibitors are showing how rich source material can be transformed into distinctive, contemporary products Total Brand Licensing looks at the latest launches and speaks to Golden Goose, IWM and the National Gallery about their plans for the show — and the opportunities shaping licensing in 2027. The most successful licensing programmes increasingly offer more than recognisable imagery. They give partners a story to tell, a wealth of authentic material to explore and enough creative freedom to make a collaboration feel relevant to today’s consumer. Across heritage, art and lifestyle licensing, those qualities will be much in evidence at Brand Licensing Europe (BLE), where established cultural institutions, creative businesses and strategic

agencies will present new partnerships and fresh approaches to brand extension. The Ashmolean expands its collection The Ashmolean Museum’s licensing programme continues to gather pace, with five new licensees joining ahead of BLE. The museum and its licensing agency, Start Licensing, will both exhibit at the show, on stands B276 and A234 respectively. Several of the new collaborations draw on the work of May Morris, the influential designer, embroiderer and daughter of William Morris. Cornwall-based LIGA has created a sustainable gift and homeware collection combining elements of her designs with her father’s

Amy Horlacher, Head of Brand Licensing and Image Archive, the National Gallery, London Why are you returning to BLE? BLE is an invaluable face-to-face opportunity to present the National Gallery and its collection to the industry. Partnerships between brands and IP are built by the people behind them, and the show gives us dedicated time to meet, exchange ideas and discover organisations whose visuals and values resonate with our own. We are returning after a short break with renewed energy, new creative and a more flexible, creatively led approach. It is a new chapter for our licensing programme. What news are you sharing? The National Gallery recently announced Project Domani, a major initiative that will redefine the Gallery for the next century. Plans include a new wing and public space connecting Trafalgar Square and Leicester Square, together with an expansion of the collection on display to tell the complete history of painting in the Western tradition. It creates new possibilities for partnerships, collaboration and audience engagement. What do you hope to achieve at the show? We want to build new partnerships, strengthen existing relationships and open our IP to new categories and audiences. Getting away from inboxes and speaking in person helps us find natural points of connection and see how fresh creative thinking could develop into successful collaborations. Where do you see the opportunity in 2026/27? There is an opportunity for licensing to return to authenticity, trust PAGE 28

poem Love is Enough. The range is available through LIGA stockists and the Ashmolean’s on-site and online shops. “We are really proud to be working with LIGA to continue to share May Morris’ story through beautiful, sustainable gifts and homewares,” says Dec McCarthy, Head of Publishing and Licensing at the Ashmolean Museum. The Well Read Company, known for handbags and accessories designed to resemble classic books, has also developed products inspired by May Morris, alongside a darker, gothic-influenced range based on The Dance of Death. Gilded of Oxford, meanwhile, is

and expertise. As retail rediscovers craft and originality, demand is growing for meaningful and flexible uses of IP that respect the hands, heritage and creativity behind the source material. Over the past year, a renewed strategic vision and newly appointed team have reshaped the National Gallery’s programme, balancing artistic integrity and cultural purpose with contemporary relevance and strong commercial ambition. Which recent collaboration caught your attention? Lick x Hunter. Translating Hunter’s instantly recognisable heritage green into the Green 170 paint shade now feels completely natural. The collaboration takes a brand rooted in the outdoors into interiors in a visually rich and experiential way. With shared values of craftsmanship and quality, it feels both credible and purposeful.

TOTAL BRAND LICENSING

BRAND LICENSING EUROPE (BLE) translating May Morris’ work into stationery, including embroidered notebooks, exercise books and greeting cards. The company draws its artwork in-house by hand and specialises in products created to enhance the experience of readers and writers. The theme will extend into interiors through a new partnership with British designer Fiona Howard, who is developing May Morris-inspired wallpaper and borders. Howard, whose work includes Sanderson’s well-known Dandelion Clocks, uses traditional processes including lino cutting, monoprinting and watercolour. Publishing remains another important part of the programme. Following Around the World in 80 Pots, created with Welbeck Publishing, part of the Hachette Group, the museum is preparing to launch Art Faces. Drawing on the Ashmolean’s collections to explore faces across art and history, the title is aimed at Key Stage 2 readers. Ian Downes of Start Licensing says the new licensees complement the programme’s focus on sustainability, Oxfordshire businesses and companies that are relatively new to licensing. “They bring fresh thinking and are reaching new market sectors,” he explains. “It is positive to see licensees being inspired by the Ashmolean’s wonderful collection.”

TOTAL BRAND LICENSING

For McCarthy, close collaboration is central to the programme. “The diversity and creativity are truly inspirational, and we are finding inventive ways to showcase the museum’s

incredible collections to a wider audience,” he says. “We work closely with our licensees through every stage of development. It really is my definition of a true partnership.” Creative charm from Emma Lawrence Designs Returning to BLE for a second year, Emma Lawrence Designs will present both established licensed products and a new portfolio of illustrations available for licensing. Lawrence’s work combines detailed drawing, warmth and gentle humour, with designs spanning gifts, homeware and publishing as well as a growing collection of location-themed artwork and surface patterns. Her children’s sub-brand, Little Nature Explorers®, demonstrates the breadth of the portfolio. Created to encourage learning and outdoor play, it is already licensed across growing kits, books, garden tools and accessories. Further opportunities include children’s clothing, stationery, games, immersive experiences and homeware. Since entering licensing shortly before the pandemic, Emma Lawrence Designs has built a partner roster including Kingfisher Cards, PAGE 29

BRAND LICENSING EUROPE (BLE) Will Smith, Brand Licensing Manager, IWM Why is BLE important to IWM? It is Europe’s key event for connecting with potential licensees from around the world, as well as catching up with other cultural institutions and sharing what is happening across the sector. What can IWM offer prospective partners? IWM represents five museums and historic sites: IWM London, IWM North, Churchill War Rooms, HMS Belfast and IWM Duxford. Our extensive archives contain photographs, films, paintings and other material spanning more than 100 years of British and Commonwealth history, from the First World War to the present day. They can support projects for audiences interested in history, aviation, military subjects, art and stories of conflict. What new partnerships are you presenting? We have two new Microdesigns microblock models: the Cabinet War Room at Churchill War Rooms and our N3200 Spitfire. The aircraft has also inspired a new watch with AVI-8, which has performed exceptionally well since its late-spring launch. A partnership with Chinese technology company Kangqiao Tech will bring digital collectibles based on our collections to China. It is IWM’s first venture into the Chinese market and an exciting new direction for a UK heritage institution. We have also partnered with London Sock Exchange on The Winston, a tribute to Churchill. What are the greatest challenges ahead? The cost of living continues to put pressure on discretionary spending. Evergreen brands may benefit, but consumers and retailers are likely to remain cautious and concentrate on proven categories. People will continue to value experiences, although financial pressure will make them more selective about which ones they choose. The Country Candle Company, Farrah’s of Harrogate, The Wheat Bag Company, Chatham Glyn, Samuel Lamont, Remaldi Eyewear, Greenwood Puzzles, House of Puzzles, Gardening for Kids, Zippy & George and Fair to Trade. Two further licensees are due to be announced at BLE. The designer’s collaborative, hands-on approach to product development has helped establish her reputation, while the small bird appearing in many of her illustrations has become a recognisable signature. A finalist in the Best Fashion or Talent Brand category at this year’s Brand & Lifestyle Licensing Awards, Lawrence will meet potential partners at the show to discuss new applications for the portfolio. NYBG builds global momentum The New York Botanical Garden (NYBG) will be represented at BLE by US agency Jewel Branding & Licensing and its UK partner Metrostar, exhibiting together on stand C261. Their joint presence reflects the PAGE 30

growing international reach of a programme now spanning fashion, home, health and beauty, gifts and lifestyle. At the heart of NYBG’s offer is a move beyond conventional style-guide licensing towards bespoke, content-rich collaboration. Partners can explore resources including the Rare Book Collection at the LuEsther T. Mertz Library, using historic illustrations and botanical material to create individual ranges with an authentic connection to the Garden’s work. Opportunities can extend into original content, marketing activations and events at NYBG itself. “NYBG’s licensing programme has reached a level of global momentum that reflects both the timelessness of its botanical archive and the strength of our partner network,” says Julie Newman, founder and CEO of Jewel Branding & Licensing. Fashion has provided a particularly international platform. Following its first global collection in spring 2025, Reiss returned

with an SS26 range reinterpreting butterfly and floral illustrations from the rare book collection, with a further collaboration in development for spring 2027. Liberty Fabrics has launched crafting, interiors and fashion fabrics, ready-to-wear and scarves based on patterns developed after the team visited NYBG’s archives. In Asia, Barrel Swimwear has released women’s and men’s swim and lifestyle products in Korea, followed by a second collection including childrenswear. Korean brand Rowoon has introduced stationery, gift and home products, while Japanese fashion label emmi has used archive botanicals across women’s clothing and accessories. These programmes join an expanding roster that includes Cotton On and Bioworld. Home, gift and stationery are growing too. SelectBlinds has translated hand-painted artwork and heritage illustrations into made-tomeasure blinds and curtains, offered through SelectBlinds in the US, Blinds2Go in the UK TOTAL BRAND LICENSING

BRAND LICENSING EUROPE (BLE) and Tuiss in Australia. German retailer Thalia launched its first gifting collection in February, with a second planned for spring 2027. Further collaborations include Paperblanks, MÁDARA Cosmetics and a gift and stationery collection with Portico for 2027, alongside GreenRow’s home range and Tea Forté’s botanical-inspired Volaré tea collection. Christa Boeke, VP Retail and E-Commerce and Brand Licensing at NYBG, believes the combination of authority, archive material and purpose makes the brand particularly versatile. Partners, she says, are creating collections that feel “design-forward, commercially relevant and deeply connected to the way consumers want to live today.” Art licensing at retail speed Also on stand C261, Jewel Branding & Licensing will highlight its global Artist Series programme and a licensing model designed to answer retail’s constant demand for newness. Its Master Agreement gives manufacturers and retailers access to the work of more than 50 artists through a single contract, avoiding the need to negotiate separate agreements for each creative. Partners can search for artwork through Jewel’s online platform, while its in-house creative team works with artists to provide trend direction across colour, pattern and style. “The purchase cycle has never moved faster,

with consumers wantAshmolean ing new, trend-forward product on shelves constantly,” says Newman. “That relentless demand for newness is exactly why we built our Master Agreement model — to give partners a platform that can move at the speed retail now demands.” For high-volume Master Agreement licensees, Jewel has also introduced The Diamond List, offering early access to new artwork, emerging trend intelligence and product-led direction. The strength of the Artist Series lies in the geographic and stylistic diversity of its roster. Artists currently attracting strong licensing momentum include Mia Charro in Spain, Vicky Yorke in the UK, Krissy Mast and Bouffants & Broken Hearts in the US, EttaVee in France, Gabrielle Neal in Australia, Rachael Hale in the US and Bex Morley in Canada. By rotating

Adam Bass, Director, Golden Goose Why is BLE an unmissable part of your calendar? BLE is the most efficient place in Europe to meet the full licensing ecosystem in one place: brand owners, manufacturers, retailers, agencies, innovators and deal-makers. It is where conversations accelerate and ideas become programmes, partnerships and revenue. You can achieve in three days what might otherwise take six months of meetings. What will visitors find on the Golden Goose stand? We build programmes around brands that add value to product categories, helping manufacturers grow revenue while delivering sustainable margins and attractive price points. Visitors will see new IP with proven demand and clearly defined audiences, alongside brands with focused licensing strategies. We offer a curated portfolio: fewer brands, deeper thinking and quality over volume. What news will you bring to the show? We will reveal two high-profile corporate and lifestyle brands entering licensing for the first time. We are also expanding our food and beverage portfolio with ranges across chilled, ambient and gifting TOTAL BRAND LICENSING

featured artists from season to season, retailers can refresh assortments and create an element of discovery for customers. Visit Total Licensing at E133.

categories, developed with best-in-class manufacturers for retailers’ 2027 plans. Visitors can also pick up our free Adult’s Guide to Licensing, an introductory booklet for people looking to understand the industry. What are the major challenges and opportunities for 2026/27? Retail margin pressure means ranges must genuinely drive footfall and basket spend. Consumers are more selective, so superficial licensing is quickly exposed, while supply-chain volatility and growing sustainability requirements call for smarter, more resilient partnerships. The opportunities include retailer-led, cross-category programmes; corporate and heritage brands with trusted stories; authentic extensions in food and beverage; and social-first models such as influencer marketing and limited-edition drops. What would be your dream collaboration? Cath Kidston and Le Creuset. Pairing those iconic prints with heritage cookware could create an emotionally resonant, cross-generational range at the intersection of nostalgia, quality and everyday joy. PAGE 31

PINK KEY

Global Media and Future Brands opens a new chapter in licensing with Pink Key Two of the UK’s most influential media businesses are taking their brands beyond traditional publishing and broadcasting, with Global Media and Future Brands moving into consumer licensing represented by Pink Key Licensing. The move brings together an unusually rich collection of trusted, high-profile brands with a licensing agency experienced in turning strong brand identities into compelling consumer products. Global is one of the UK’s largest media and entertainment groups, reaching more than 29 million people through its radio brands every week. Its licensing portfolio brings together three very different but highly recognisable personalities. Classic FM is the UK’s most popular classical music brand, reaching around 4.5 million weekly listeners. Its proposition is about making classical music welcoming, accessible and relevant. That creates opportunities far beyond music – exploring categories such as wellbeing, relaxation and home ambience to books, gifts, stationery, travel and experiences. Heart FM is the UK’s biggest radio brand, with more than 12.8 million weekly listeners. Its homeland is feel-good entertainment, nostalgia, relationships, music and popular culture, which has the potential to translate its upbeat, emotionally positive personality into fashion, gifting, home, beauty, wellness and lifestyle products. Radio X is built around contemporary guitar music, rock culture and some of the UK’s big-

gest radio personalities. Its weekly reach has grown to around 2.5 million, while the Chris Moyles Show alone attracts more than a million listeners each morning. Its attitude-led identity opens the door to music-related products, fashion, accessories, collectibles, publishing and experiences aimed at a passionate fan base. Future Brands brings an equally compelling proposition from the world of specialist publishing. Its portfolio spans more than 170 media brands, with audiences built around trusted expertise and specialist passions. The licensing programme will focus on four of these. Homes & Gardens combines design inspiration with practical expertise, drawing on more than 100 years of heritage. Ideal Home, another century-old name, makes great home design accessible, blending decorating inspiration with practical advice and solutions. Both brands have obvious licensing potential across homewares, furniture, paint, textiles, garden products, décor and DIY. Woman & Home is a leading women’s lifestyle brand with a heritage approaching 100 years, supporting women with content designed to help them live smarter, healthier and happier lives, that creates opportunities across beauty, wellness, fashion, gifting, food and lifestyle. FourFourTwo has become an authority on football, telling great football stories since 1994. With 1.7 million monthly users and 2.3 million social followers, it offers a powerful platform for football-inspired apparel, accessories, games, publishing, collectibles and fan experiences. What makes the move particularly significant is the breadth of opportunity. These are not simply brands looking to put logos on products, they are established editorial and entertainment properties with distinctive voices, communities and areas of expertise with the ability to support any new partnerships in a way that is enviable to most brands.

PAGE 32

The timing is ideal. Consumers increasingly expect the brands they love to exist across multiple touchpoints. The brands are already embedded in consumers’ lives; licensing allows them to become part of those lives in tangible, useful and desirable ways. For Pink Key Licensing, the appointments represent an opportunity to apply its long-standing expertise in building strategic licensing programmes to a new generation of media properties. Established in 2005, Pink Key has developed a reputation for creating long-term programmes that fit a brand’s personality and values while generating additional revenue and strengthening brand equity. That makes Pink Key an ideal partner. The agency understands that successful licensing is about identifying the right categories, retailers and partners, then creating products that feel authentic to the audience. With Global Media and Future Brands, Pink Key has the chance to break new ground, transforming the emotional connection audiences already have with radio, magazines and specialist media into physical products, experiences and partnerships that can take these brands into exciting new territory. TOTAL BRAND LICENSING

MGL

Looking for artwork that makes products stand out? For over 35 years, Meiklejohn Graphics Licensing (MGL) has helped manufacturers, brands, retailers and e-commerce businesses stay ahead of the curve with eye-catching, rights-cleared artwork shaped by the latest design and consumer trends. Representing 70 contemporary artists and brands, their diverse portfolio features more than 35,000 images across a huge range of styles and themes from wildlife, florals and landscapes to fantasy, fashion, children’s characters, graphics, playful motifs and more.

Their artwork is available for exclusive or non-exclusive licensing and can be used across a wide variety of products, including but not limited to: • Greeting cards, calendars and stationery • Jigsaw puzzles • Packaging • Apparel, gifts and accessories • Homeware, bedding and lifestyle products • Children’s and youth products • Arts and crafts, diamond painting and paint-by-numbers By keeping a close eye on emerging design trends and anticipating what’s current and what’s next, they offer artwork that feels fresh, relevant and ready for market helping their partners create distinctive products and collections that stand out. Can’t find exactly what you’re looking for? MGL can create it for you. Their bespoke art and design service provides the flexibility to create something truly unique. They can develop original artwork from scratch or adapt existing designs to suit a particular product, collection, market or audience. Through thoughtful use of colour, themes, styles and cultural cues, they can tailor artwork to create an authentic connection with your customers. From individual products and retail collections to international ranges and campaigns, their team works closely with clients to deliver distinctive, commercially focused, readyto-launch artwork. And because copyright, licensing and commercial usage rights are professionally managed by MGL, clients can license their artwork with confidence. Looking for fresh artwork for your next product or collection? Contact MGL at info@mglart.com or visit www.mglart.com.

PAGE 34

TOTAL BRAND LICENSING

V&A

Expanding their global reach with new gaming, fashion and lifestyle collaborations In the V&A Brand Licensing programme’s first ever digital gaming collaboration with League of Legends: Wild Rift, a new collection of game character outfits, or ‘skins’, take inspiration from the V&A’s iconic jewellery collection. Seven characters, who form part of the Crystal Rose set in the League of Legends universe, have been given new outfits and signature accessories inspired by V&A objects. Individual storytelling has been considered through the selection of V&A pieces, with the colour of the stones, choice of metal and how the accessories are arranged for each character, all playing a pivotal role.

The collaboration explores the ways in which innovation and craftsmanship define jewellery as a form of creativity and personal expression. Influences of the Art Nouveau Movement sing through these bold and characterful designs, alongside earlier Victorian-era references. Currently available to players in China for a limited time only, this presents an opportunity to share the V&A’s collection with the game’s over 80 million registered players in the region. This Autumn the V&A launches a debut collaboration with foldable bags brand LOQI, inspired by Nigel Quiney’s vibrant designs in the V&A’s collection.

Quiney’s highly desirable wrapping paper patterns epitomised vibrant pop art from the era of Swinging London, and this collaboration reimagines the bold colours and graphic style that defined the era, with a visionary contemporary spin. Strong, durable and stylish, LOQI’s reusable bags are made from 100% recycled materials, combining striking design with practicality. From everyday classics to high fashion, a new collaboration between the V&A and luxury bag brand Olympia Le-Tan features French Rococo-inspired bags and clutches that transform objects from the museum’s collection into wearable works of art. Known for adapting cultural icons into striking handbags with an inventive twist, Olympia Le-Tan bring their signature treatment to the V&A’s Rococo designs after taking inspiration from the museum’s Marie Antoinette Style exhibition earlier this year. Strengthening a long-standing relationship, this collection includes Olympia Le-Tan’s Tote Bag format for the first time, in addition to the brand’s signature clutch. This provides consumers with a new silhouette and greater flexibility. The clutch bags are numbered, limited edition art pieces, combining handmade embroidery and luxury artisanal work. This Autumn-Winter, Love & Roses and the V&A launch their seventh collaborative range, encompassing elegant and distinctive occasionwear, inspired by the V&A’s collections. The range of day and eveningwear features

PAGE 36

TOTAL BRAND LICENSING

V&A range of new merchandise created especially to accompany the show. Opening at the Yokohama Museum of Art, the exhibition draws on the V&A’s exceptional collections of historical dress, textiles and decorative arts to demonstrate the extraordinary legacy of the French queen’s influence as an early modern style icon, and history’s most fashionable monarch. It also explores the timeless appeal of Marie Antoinette’s style, as well as how and why her sartorial reputation continues to be a source of inspiration for contemporary creators. The accompanying merchandise range includes bags and pouches in collaboration with Maison de FLEUR, as well as umbrellas, and tea in collaboration with Nina’s, among others. By launching new collaborations and working with licensees around the world, the V&A further contributes to the brand’s mission to champion design and creativity in all its forms, advance cultural knowledge, and inspire makers, creators and innovators everywhere. To find out more about the V&A Brand Licensing programme, email the team at licensing@vam.ac.uk

richly detailed prints and jewelled embellishments, adorned across Love & Roses’ signature silhouettes. Also in apparel, British B Corp FatFace and the V&A came together earlier this year in a collaboration that launched as part of Copper & Black, the brand’s premium occasionwear collection. Celebrating coastal motifs, the range took inspiration from eighteenth and nineteenth century designs held in the V&A collections. A debut collection of planners and stationery produced by Japanese lifestyle brand, Hobonichi, features a rich selection of

TOTAL BRAND LICENSING

art-inspired designs from the V&A archives. This series celebrates the much-loved patterns of William Morris and his contemporary, John Henry Dearle, as well as the V&A’s architecture and unparalleled collections. Each product combines iconic designs with Hobonichi’s signature attention to detail and quality, which has earned the brand a strong following among stationery enthusiasts. Meanwhile, the V&A brings its blockbuster exhibition, Marie Antoinette Style, to Japan from 1 August to 23 November 2026 with a

PAGE 37

RHS

Florals in Fashion... How the RHS Dresses to Impress The RHS licensing programme has already won recognition from consumers, collaborators and the licensing industry as a whole for the many offerings that extend its appeal beyond its very successful core gardening products into homeware, gifting, calendars, and craft pottery among many other areas – but it has also made impressive inroads into the fashion category. In fact the RHS has been working with fashion brands for some years, inspiring womenswear, childrenswear, handbags, women’s boots and more. Of course nature in general and floral designs in particular have long influenced fashion and design – but the RHS has something extra: not just two centuries of inspiring people to grow, but its glorious gardens and flower shows and, importantly, unique design assets – more specifically, the riches of the RHS Lindley Collections, the world’s finest collection of botanical art. Of course, it’s not quite as simple as just transferring botanical art onto dresses. The RHS Licensing team encourages and supports

PAGE 38

designers who wish to adapt its art assets to their own vision – which is exactly what Aspiga, the award-winning sustainable fashion brand and certified B Corp, has done. This year saw the launch of the special Aspiga x RHS Collection, a capsule collection of floral prints that reimagine historic botanical illustrations from the RHS Lindley Collections in a contemporary way. It’s a range of styles that extends from delicate ditsy florals to bold, dramatic blooms, all adapted to pretty tea-dresses, statement scarves and chic separates. The collection also honours two decades of Aspiga’s commitment to nature, craftsmanship and timeless design. As a sustainable fashion brand, Aspiga has ensured that the collection reflects not only aesthetic beauty but also Aspiga’s own ongoing commitment to conscious creation. Aspiga designs and creates contemporary, stylish, and timeless clothing for women and men using natural and organic materials. Every piece embodies the brand’s ethos of responsible sourcing, thoughtful design and enduring quality – an ethos that has attracted environmentally aware consumers and even support from royalty, including Sophie, Duchess of Edinburgh. The result is, as Cathy Snow, RHS Licensing Manager, puts it, “a winning combination of craftsmanship and sustainability that reflects many of the ideals of the RHS alongside a design sensibility that expresses a commitment to nature in a joyous way”. As well as guiding and supporting the design work of fashion licensees like Aspiga, the RHS can also offer some unmatchable showcases. It is, after all, the home of some of the world’s best-known flower shows. Indeed, Aspiga was able to show off its style on its very own stand at the 2026 RHS Chelsea Flower Show. A 2027 Aspiga x RHS Collection is already being planned.

Aspiga founder Lucy Macnamara says: “This collaboration is a joyful tribute to 20 years of Aspiga. It celebrates the natural world that has inspired us from the very beginning, while reinforcing our belief that fashion can be both beautiful and responsible. We are thrilled that we have been able to work with the RHS to make this collection happen.” An equally gorgeous RHS collaboration this year was with womenswear fashion brand Love & Roses for the launch of a special 85-piece Love & Roses RHS spring-summer 2026 collection available exclusively at Next. Balancing heritage inspiration with modern femininity, the collection celebrates florals in all their forms – and again uses the RHS Lindley Collections as a vibrant starting point for the prints and motifs which the Love & Roses design team brought to a unique collection with very much its own style. Flattering sundresses and everyday denim have been given a fresh, graphic take on the heritage garden style, blending bold stripes with intricate floral embroidery. Statement separates offer a contemporary approach to soft summer tailoring, designed with limitless styling possibilities in mind. For effortless dressing, all-over prints are etched onto throw-on summer dresses. The collection also draws on the joys and TOTAL BRAND LICENSING

RHS nostalgia of allotment-inspired motifs adapted from the RHS Lindley Collections, from vibrant cherries and red-hot chilies to ripe tomatoes, appearing across relaxed silhouettes. Throughout the collection, delicate pressed meadow flowers appear across textured fabrics and dimensional detailing, giving a soft, romantic twist to the key pieces. These elements were carefully translated onto outfits ranging from day dresses and event dresses to shorts, skirts, knitwear and more, balancing romantic event dressing with effortless daywear. Signature Love & Roses silhouettes are elevated with botanical prints, delicate embroidery and textured details, creating a summer wardrobe designed for garden parties, special occasions and everyday escapism. The Love & Roses collection was also show-

cased – and available to purchase – at the RHS Chelsea Flower Show 2026 in May, alongside an exclusive range of accessories available only at the RHS Chelsea Flower Show, including scarves and tote bags. Ahead of the RHS Chelsea Flower Show there was also a month-long in-store activation at RHS Garden Wisley in Surrey, one of the world’s great gardens. The collection also enjoyed strong support from respected fashion influTOTAL BRAND LICENSING

encers. Not surprisingly, the success of the spring-summer collection has inspired a new Love & Roses | RHS AW26 collection, this time inspired by RHS Lindley Collections illustrations of autumn in bloom. Rich jewel tones, painterly florals and elevated fabrications, including flowing satins and luxurious jacquards, have created a sophisticated wardrobe designed for the transition from late summer into autumn across a wide variety of womenswear. The collection showcases an elegant selection of occasion dresses, elevated co-ords and statement separates, from midi dresses, skirts and shell tops to t-shirts and halter neck tops and, once again, from elegant occasionwear to stylish casualwear. All are designed to make dressing for everything from late summer events to autumn celebrations feel effortless and refined. The result of this collaboration, says Cathy Snow, has been “two collections that celebrate the beauty of botanical art while giving it new life through contemporary womenswear, honouring the heritage of the RHS archive while creating unique pieces designed for modern summer and autumn dressing”. This highly successful collaboration will continue into 2027 with further collections launching in the spring-summer period for adults. Clive Reeve, Love & Roses Head of Creative,

adds: “These collaborations are a tribute both to the horticultural excellence of the RHS and to the colours and joy of spring, summer and autumn. We’re thrilled to have worked with the RHS and its fabulous artworks, and even more thrilled at the results.” These collaborations are also useful reminders of how adaptable the RHS Licensing programme can be without ever losing sight of the joys of gardens and gardening that underpin both the charity and the Licensing Programme – and that have inspired everything from outdoor furniture, confectionery and garden tools to rugs, jigsaw and prams. And, of course, fashion.

PAGE 39

MUSEUM & HERITAGE

Heritage Reimagined How museums, galleries and cultural institutions are turning history, art and heritage into some of licensing’s most contemporary opportunities

For an industry whose business is built around intellectual property, few sectors can offer quite the depth of material found within museums, galleries, universities and heritage institutions. These are brands with extraordinary stories already embedded within them: centuries of history, instantly recognisable artworks and objects, remarkable architecture, celebrated personalities, scientific discoveries and collections that can stretch across almost every aspect of human culture. Increasingly, however, the museum and heritage licensing sector is demonstrating that history does not have to mean nostalgia. Some of the most interesting activity in the market today is distinctly contemporary, spanning streetwear, designer toys, footwear, immersive experiences, gaming, lifestyle products, collectibles and citywide cultural activations. At the same time, institutions are becoming increasingly sophisticated about how licensing can fulfil a wider role. Commercial partnerships can bring collections to consumers who may never walk through the doors of the institution itself; help finance conservation, education and research; make cultural content more accessible; and establish heritage brands within entirely new communities. As a result, museum and heritage licensing is becoming less about simply reproducing famous imagery on product and increasingly about interpretation. The most successful partnerships find a genuine connection between the institution, the partner and the consumer. And as the latest activity across the sector demonstrates, those PAGE 40

Deus x Gardenia Britiah Museum connections can appear in some unexpected places. The British Museum: taking the collection beyond the museum Few organisations illustrate the sheer possibilities available to cultural licensing as clearly as the British Museum. Home to a collection spanning more than two million years of human history, the Museum has continued to expand the ways in which audiences can encounter its collections outside London. At Brand Licensing Europe this year, it will highlight a programme that increasingly combines heritage with character development, collaborations, experiences and purpose-led licensing. Among the developments is the continued evolution of Bastet, the Museum’s feline guardian inspired by the famous Gayer-Anderson Cat. The character has become a distinctive piece of Museum IP in its own right,

with expansion planned across Asia alongside further collaborations and experiences within the British Museum itself. It represents an interesting direction for heritage licensing. Rather than concentrating exclusively on reproductions of objects from a collection, institutions can use the stories behind them as the basis for characters, worlds and narratives capable of reaching a far broader audience. The Museum’s recent collaboration with the Smurfs demonstrates another route. The partnership introduced the Museum and its collections to younger visitors through an interactive trail, retail activity and associated products, illustrating how a global entertainment property and a major cultural institution can work together without either losing its identity. There is also a growing social purpose behind the licensing programme. The Museum is exploring how commercial partnerships can TOTAL BRAND LICENSING

MUSEUM & HERITAGE

NYBG support accessibility, inclusion and education, with licensed products and storytelling initiatives designed to make its collections easier for different audiences to experience and understand. It is an important distinction. Heritage licensing can generate revenue, certainly, but increasingly its value is measured in reach as well as retail sales. When the garden becomes fashion That ability to reach a completely different consumer is also apparent at the New York Botanical Garden. In August, NYBG partnered with streetwear and accessories brand Sprayground on a 30-piece collection of bags inspired by the Garden’s landscapes, botanical collections and architecture. On paper, the partnership between a 135-year-old botanical institution and an urban streetwear business might appear unexpected. In practice, that contrast is precisely what makes it interesting. Sprayground interpreted the New York Botanical Garden through its own visual language. The collection included a duffle bag inspired by the Victorian architecture of the Enid A. Haupt Conservatory, handbags and backpacks drawing on decorative botanical vessels, sculptural floral pouchettes and designs using tropical leaves, flowers and garden imagery. There was also a strong sense of place. Both organisations have roots in the Bronx, and several pieces celebrated that connection through maps and Bronx-inspired graphics.

TOTAL BRAND LICENSING

The result became as much about local identity as horticulture. A dedicated pop-up within the Botanical Garden brought the collection back into the environment that inspired it, creating a physical retail experience around the collaboration. And there is another important element. A portion of proceeds supports NYBG’s work in areas including plant research, conservation, horticulture and education. For heritage and cultural organisations, partnerships of this kind show how licensing can move comfortably into fashion and lifestyle while still reinforcing the institution’s wider mission.

PAGE 41

MUSEUM & HERITAGE

Van Gogh

It also demonstrates the power of the unexpected collaborator. A younger consumer discovering the Garden through a Sprayground backpack may eventually develop a completely different relationship with the institution itself. Van Gogh moves into streetwear, sneakers and designer toys Perhaps nowhere is the modernisation of art licensing more visible than in the continuing expansion of the Van Gogh Museum’s partnerships. Vincent van Gogh has long been one of the world’s most commercially recognisable artists, but the current licensing strategy surrounding the Museum goes well beyond conventional reproductions of Sunflowers. PAGE 42

Instead, Van Gogh’s art is increasingly entering the cultural spaces occupied by younger audiences. Following an initial apparel collaboration in 2025, A BATHING APE and the Van Gogh Museum are extending their partnership into footwear and collectibles. New BAPE STA sneakers interpret Sunflowers and Almond Blossom, while two BE@ RBRICK collectibles bring together the Van Gogh imagery with BAPE’s distinctive SHARK design. The significance lies not simply in putting artwork onto new products, but in allowing several creative identities to collide. There is BAPE’s streetwear culture, the instantly recognisable form of BE@RBRICK

and the artwork of Van Gogh. Each contributes something to the finished product. The same principle sits behind the Museum’s continuing relationship with POP MART. Following large-scale MEGA MOLLY figures released in 2024, MOLLY has returned in a 100% collectible format as part of a blind-box collection. Designer collectibles have become one of the most significant areas of global licensing growth, particularly among teenagers and adult collectors, and the partnership places Van Gogh squarely within that world. For the Museum, the opportunity is clear: an audience entering through POP MART may encounter Van Gogh in a context entirely separate from traditional art education. But the Van Gogh Museum is also demonstrating that cultural licensing need not always involve a physical consumer product. In Taipei, a major citywide cultural campaign is placing reproductions of Van Gogh works across 20 locations. Walk into Taipei with Van Gogh, developed by BDG Global Co. on behalf of the Taipei City Government Department of Cultural Affairs in collaboration with the Museum, links individual artworks with cultural locations around the city. At the Taipei Performing Arts Center, Self Portrait with Grey Felt Hat is used to explore ideas around creative experimentation. Sunflowers appears at Huanmin New Village, while The Bedroom has been connected with Songshan Cultural and Creative Park. The project effectively turns the city into the TOTAL BRAND LICENSING

MUSEUM & HERITAGE licensed experience. Rather than asking visitors simply to look at a Van Gogh artwork, it encourages them to use that artwork as a way to look differently at Taipei. It is a compelling example of how museum IP can support tourism, placemaking and cultural engagement as well as merchandise. Cambridge puts collegiate heritage into fashion Universities provide another enormously rich area for heritage licensing. Few have a visual and cultural identity as globally recognised as the University of Cambridge, whose academic heritage, sporting traditions, architecture and collegiate culture provide almost limitless creative references. Curating Cambridge has partnered with Rowing Blazers on an official University of Cambridge fashion collection drawing on precisely that heritage. The capsule brings Cambridge trademarks and sporting references into contemporary menswear and womenswear, combining collegiate styling with Rowing Blazers’ own design language. Crucially, the collection was photographed in Cambridge itself. That sense of authenticity matters. Collegiate fashion has become an international aesthetic far removed from the campuses that originally inspired it. For universities with genuine sporting and academic heritage, licensing creates the opportunity to reclaim and reinterpret that aesthetic through authentic archives, colours, emblems and traditions. Cambridge also illustrates another important quality of heritage brands: they do not stand still. The University may be centuries old, but its identity is also shaped by contemporary students, academics, ideas and discoveries. That intersection between history and modern relevance is precisely what makes university licensing interesting. The strongest programmes can draw on tradition without being trapped by it. HMS Victory: licensing a living piece of history Some heritage properties carry another dimension altogether: conservation. HMS Victory remains one of the most recTOTAL BRAND LICENSING

ognisable symbols of British maritime history and is currently undergoing a £45 million conservation programme while continuing to welcome visitors. As the ship approaches its 250th year of service in 2028, Royal Navy Museums has appointed Golden Goose to develop and manage an international licensing programme for HMS Victory. The opportunity spans the ship’s design, its role in British naval history, its association

with Vice Admiral Lord Nelson and the Battle of Trafalgar, and its continuing existence as a physical heritage asset. Golden Goose expects to explore categories stretching from maritime and nautical equipment and historical replicas through to contemporary brand collaborations. But one particularly intriguing possibility comes directly from the conservation programme itself. Authentic heritage materials removed during

PAGE 43

MUSEUM & HERITAGE

conservation could potentially be incorporated into limited-edition licensed products. That introduces provenance into the product in the most literal sense. Collectors are increasingly interested not merely in what something represents, but in the story contained within the object itself. A product containing authentic material connected to HMS Victory occupies a very different emotional space from a conventional souvenir. The approach could also create an unusually strong bridge between conservation and commerce. Licensing becomes part of telling the story of the ship’s preservation for future generations, while the approaching anniversary provides a natural focal point for collaborations, retail PAGE 44

activity and consumer engagement. For institutions responsible for historic buildings, ships, vehicles and other physical assets, it is an interesting model. The heritage itself becomes both inspiration and, in carefully managed circumstances, material. Moulin Rouge: heritage that never stopped moving Not every heritage brand lives within a museum. Since 1889, the Moulin Rouge has built one of the world’s most recognisable entertainment identities around performance, costume, craftsmanship and Parisian glamour. More than 135 years later, the brand continues to expand well beyond its Montmartre home.

Moulin Rouge! The Musical has played an important part in introducing the world to a new generation of audiences, with productions and tours taking the story and aesthetic of the Moulin Rouge into markets across Europe and beyond. But the licensing programme extends much further. A collaboration with Monnaie de Paris has celebrated the craftsmanship behind the institution through five silver and gold coins paying tribute to the artisans involved in creating its famous performances, including feather workers, bootmakers, embroiderers and costume makers. Elsewhere, Doudou et Compagnie has translated the brand into plush and dolls, while Figured’Art has taken Moulin Rouge into paint-by-numbers and diamond painting. Even wellness has become part of the mix. A collaboration with Oysho transformed the Moulin Rouge stage into a Pilates studio for an exclusive event which attracted more than 4,000 requests for just 20 places. The brand is also moving deeper into storytelling. Cryptic Killers is developing an investigation game set in the Moulin Rouge during the 1890s, while Rocketship Entertainment is creating graphic novels inspired by its world. Together, these projects demonstrate just how broad the definition of heritage licensing has become. Coins sit alongside craft kits. Plush sits alongside live experiences. A historic Parisian entertainment venue can exist simultaneously as a theatrical brand, a lifestyle property, a storytelling universe and a design archive. What holds everything together is a distinctive identity. The feathers, colours, craftsmanship, Parisian setting and theatricality of Moulin Rouge provide a recognisable creative language which partners can interpret rather than merely reproduce. Heritage as a creative starting point Even relatively small cultural organisations can use collaboration to turn their role as custodians of creativity into licensing opportunities. The Cartoon Museum, for example, has joined forces with Pepita Coffee and Fatboy TOTAL BRAND LICENSING

MUSEUM & HERITAGE Slim on a competition to find an artist to design a limited-edition collectible coffee tin. The project sits comfortably within the Mu-

TOTAL BRAND LICENSING

seum’s own world of cartooning and illustration while giving artists the opportunity to contribute something new.

It is a useful reminder that heritage licensing does not always require a famous masterpiece or a centuries-old archive. Sometimes the asset is the creative community surrounding the institution itself. From gift shop to global lifestyle Taken together, these programmes illustrate just how far museum and heritage licensing has travelled. There will always be an important market for traditional museum retail. Books, reproductions, stationery, gifts and products based directly on collections remain fundamental. But that is only one part of the opportunity. Streetwear brands are interpreting botanical collections. Designer toys are introducing famous artists to collectible communities. Historic ships are exploring contemporary collaborations. University heritage is entering global fashion. Cities are becoming canvases for cultural experiences. And increasingly, the relationship works both ways. A museum lends authenticity, history and cultural meaning to a commercial partner. The partner, in return, brings its own audience, distribution, design language and cultural relevance. The best collaborations do not simply place one logo beside another. They find the story that both partners can tell together. That is perhaps why heritage licensing feels particularly relevant today. Consumers are surrounded by content and products, yet provenance and meaning remain difficult to manufacture. Museums and heritage organisations possess both in abundance. Their challenge is not creating a backstory. It is deciding which parts of those extraordinary stories can be reinterpreted for another generation. And as museums, cultural institutions and heritage brands continue to experiment with fashion, collectibles, entertainment, experiences and new forms of storytelling, the sector is proving that looking after the past and creating something new are far from contradictory ambitions. In licensing, increasingly, they are becoming part of the same strategy. Find these institutions and more at Brand Licensing Europe. PAGE 45

The Natural History Museum Following a busy first half of the year, the Natural History Museum is continuing its momentum into BLE with a slate of new autumn launches. In the children’s product programme, Robert Frederick has launched its first range of NHM stationery and gift, using the Museum’s popular Blast from the Past trend pack to create graphic, dinosaur-focused designs. Secondly, tonies® is building upon the success of its Natural History Museum: Discovery Crew Pocket Tonie by launching a second set of four stories, Discovery Crew: Dinosaurs, in which the Crew return to explore the desert, jungle and polar habitats of prehistoric creatures, as well as British discoveries. As well as product launches, the Museum’s licensing team is continuing to grow its portfolio of live experiences. Between July and September, for the summer holidays, Bakehouse PAGE 46

Factory launched its ABC Trail in Westgate Oxford shopping centre, engaging children in an A to Z of nature that introduces 26 amazing animals, insects, plants and natural wonders. Furthermore, the team are delighted to announce the launch of a themed family hotel suite with Park Plaza London Riverbank. Within the suite, the adult’s bedroom takes inspiration from the Victoriana feel of the Museum and incorporates design elements inspired by the Museum’s architecture. Meanwhile, the children’s bedroom is a celebration of dinosaurs, featuring a bespoke T. rex bunk bed and custom wall mural that transports guests back to the Cretaceous period. New licensee signings continue to strengthen the Museum’s UK programme. In the toys and games category, B-Corp games and

puzzles specialist Gibsons Games is signed for jigsaw puzzles and currently developing product for spring 2027, while Cypriot STEM toy experts Engino are working with the team to develop educational natural history model kits for launch later this year. Beyond Europe, the Museum’s international licensing programme is growing via agents. In the US, a first wave of apparel has launched from new licensee Philcos Enterpriser and in South Korea a beautiful range of stationery and gifting has been rolling out into Aladin bookstores over the summer, taking inspiration from the Museum’s extensive archives. In response to these growing markets, two new trend packs have been developed this year to specifically appeal to the Asian market. The first, Cute Dinosaurs, reimagines two of the Museum’s most well-known dinosaurs, Dippy the Diplodocus and Sophie the Stegosaurus, in a sweet, naïve style and soft colour palette. TOTAL BRAND LICENSING

NATURAL HISTORY MUSEUM The second is focussed around Lunar New Year and incorporates the Museum’s animal carvings and architectural details in elegant patterns and motifs, while also introducing a second, more graphic aesthetic for this theme. Looking ahead, there are some fantastic launches still to come this year. London-based apparel company Palava will be launching its second Natural History Museum collection in October, this time taking inspiration from the Museum’s architecture, combining delicate botanicals from Hintze Hall’s ceiling tiles with the animals from architectural carvings to create beautiful and unique prints. Knitwear is being introduced to this collection alongside Palava’s popular skirt and dress silhouettes. Also in the apparel category, Zipster is launching its first collection of Natural History Museum baby, children’s and family bamboo clothing for the European market in November. The range introduces custom dinosaur

TOTAL BRAND LICENSING

prints across babywear, daywear, sleepwear and underwear in a way designed to encourage curious conversations. Elsewhere, Nemesis Now will be launching its first dinosaur and fossil-themed range of collectables and gift, initially into the Museum’s retail spaces for Q4, before launching into wider retail early next year. As we approach Christmas, a dinosaur-themed advent calendar will also be launching into M&S for a third consecutive year from licensee Kinnerton. At BLE, the Natural History Museum licensing team are looking forward to engaging in discussions across multiple product categories. This year they are particularly targeting apparel, food gifting, health and beauty and homewares, as well as looking to form stronger direct links to retailers.

PAGE 47

NATIONAL GALLERIES OF SCOTLAND

Scotland’s National Art Collection. Yours to Discover... Consumers today are looking for more than beautiful products. They are seeking authenticity, emotional connection and stories with which they can engage. The National Galleries of Scotland offers licensing partners access to one of the UK’s richest cultural resources, with a collection of more than 130,000 artworks. It spans Scottish and International art from the early Renaissance to the present day. As home to the world’s most comprehensive collection of Scottish art, alongside works by some of the greatest names in global art history, including Botticelli, Raphael, Rembrandt, Vermeer, Monet, Cézanne, Picasso, Van Gogh, and many others the collection provides an exceptional foundation for product development across giftware, stationery, homewares, publishing, textiles and lifestyle brands.

tiles, and heritage gifts to lifestyle products. Sir Henry Raeburn’s The Reverend Robert Walker (1755–1808) Skating on Duddingston Loch, affectionately known as The Skating Minister captures a uniquely Scottish sense of character, it continues to inspire products that balance heritage with humour and visual charm.

complement the Scottish collection, creating opportunities for licensing programmes that are both locally distinctive and globally appealing. The collection is rich in decorative imagery inspired by Art Deco and Arts and Crafts, such as Robert Burns’s vibrant stylised mural The Hunt. Originally created for Crawford’s Tea Rooms in Edinburgh during the 1920s, the work features three woodland nymphs surrounded by exotic wildlife in a decorative landscape. Phoebe Anna Traquair’s extraordinary Progress of a Soul series also offers exceptional licensing potential. A central figure in Scotland’s Arts and Crafts movement, Traquair’s work combines symbolism, skill and narrative in a way that feels remarkably contemporary.

With over 2.6 million visitors annually across its galleries and around 3 million website visitors, the National Galleries of Scotland attracts audiences both nationally and internationally. The collection is uniquely positioned to help brands create products with genuine cultural relevance and broad consumer appeal. Its strength lies not only in the quality of the artworks, but in the extraordinary stories behind them. These stories transform products into powerful narratives for retail, marketing, and merchandising. The collection also reflects major international art movements that continue to influence contemporary design. Impressionist and Post-Impressionist works by artists such as Monet, Cézanne and Van Gogh bring global recognition to licensed products. Meanwhile, Picasso and later modern artists introduce opportunities to engage audiences looking for innovation. These internationally recognised names PAGE 48

Scotland’s influence and importance as an artistic centre can be seen in the work of The Scottish Colourists. Inspired by the French Impressionists, artists such as Samuel John Peploe and F.C.B. Cadell transformed familiar subjects into celebrations of colour and light. Their paintings of Iona, still lifes and interiors offer both sophistication and escapism.

For designers and manufacturers, the breadth of the collection means there is imagery to suit every category and consumer demographic. Decorative arts, botanical studies, portraits, landscapes, Celtic Revival works, Arts and Crafts design, Scottish Colourist paintings and internationally recognised masterpieces within Scotland’s national art collection. Licensing with the National Galleries of Scotland is also an opportunity to support one of the nation’s leading cultural institutions. Every licensed product helps extend the reach of Scotland’s national art collection beyond gallery walls while supporting its care, preservation and future development. As consumer demand for authenticity, storytelling and cultural heritage grows, the National Galleries of Scotland collection represents an exceptional licensing opportunity. It is more than a collection of artworks. It is a collection of stories, identities, places and ideas that continue to inspire audiences around the world. To find out more about image licensing opportunities, visit: https://www.nationalgalleries.org/ collection-image-licensing

Scotland’s landscapes and heritage have inspired generations of artists to recreate dramatic Highland scenery, coastal views, castles, and historic architecture. These paintings offer rich opportunities for storytelling and destination-inspired product ranges. Among the collection’s most recognisable works is Sir Edwin Landseer’s The Monarch of the Glen, one of the most famous images of Scotland ever created. More than a painting of a stag, it has become a symbol of Scottish identity. Its enduring appeal makes it a natural fit for everything from homewares, texTOTAL BRAND LICENSING

HERITAGE

Bringing Heritage into Modern Homes The National Trust and The Cotswold Company are bringing together heritage, craftsmanship, contemporary design and conservation in a new multi-year partnership that demonstrates the growing potential for heritage brands within the home and lifestyle sector. The most successful brand licensing partnerships increasingly go far beyond the application of a name or logo. At their strongest, they bring together organisations with complementary values and expertise, creating products that tell a convincing story while opening brands to new audiences. The new multi-year collaboration between the National Trust and The Cotswold Company is a particularly fitting example. Bringing together two organisations with deep connections to the Cotswolds, the partnership has been built around a shared appreciation of craftsmanship, heritage, quality, sustainability and the natural world. It will see The Cotswold Company develop furniture inspired by National Trust properties and collections, while also supporting conservation projects within the landscape from which both organisations take inspiration. For the National Trust, the choice of licens-

PAGE 50

ing partner is significant. As Europe’s largest conservation charity, caring for historic houses, gardens, countryside and coastline across England, Wales and Northern Ireland, commercial partnerships need to complement both its heritage and its wider purpose. The Cotswold Company, founded in the heart of the Cotswolds in 1996, specialises in premium furniture and homewares, working with specialist manufacturers and traditional woodworking techniques. Its emphasis on craftsmanship, responsibly sourced materials and furniture designed for longevity provided a natural alignment with the Trust’s own approach to conservation and sustainable consumption. Importantly, the relationship has been developed as much more than a traditional brand endorsement. The National Trust has worked closely with The Cotswold Company’s design team throughout the development process, with designers visiting National Trust properties in the Cotswolds to research architectural details, interiors and historic design features. Those visits, combined with inspiration from the Trust’s archives and historic house collections, have informed two initial furniture ranges that aim to reinterpret heritage

influences for contemporary living. Rather than producing replicas of historic furniture, the intention is to take the principles and details behind those pieces and translate them into versatile designs suited to modern homes. Antique-style influences will therefore sit alongside modern functionality, creating statement furniture with an identifiable connection to Britain’s design heritage without feeling confined to the past. The first National Trust-inspired collection is expected to be unveiled in Autumn 2026. It is an approach that touches upon a much wider opportunity for heritage licensing. Consumers increasingly want to understand where products come from, what inspired them and the stories behind the brands they buy. Heritage organisations possess an extraordinary depth of material from which licensees and designers can draw — from architecture and decorative arts to textiles, gardens, landscapes, archives and entire historic collections. The challenge is turning that history into products that feel relevant to life today. For the National Trust, home and interiors provide a particularly natural platform. Its properties encompass centuries of British architecture, furniture and decorative design, TOTAL BRAND LICENSING

HERITAGE offering considerable inspiration while allowing consumers to establish their own connection with the places the charity protects. The Cotswold Company partnership demonstrates how this can work in practice: using heritage as a creative starting point rather than simply as branding. It also allows the National Trust to reach people who may not necessarily be regular visitors to its properties but who have an interest in interiors, craftsmanship, heritage and sustainable design. Licensing can therefore extend the Trust’s relevance into consumers’ everyday lives while generating income to support its charitable work. Sustainability is another important element of the collaboration. Both partners place emphasis on products that are made well and designed to last. The Cotswold Company employs traditional woodworking techniques and offers a 15-year furniture guarantee, supporting the principle that longevity itself can be an important part of more responsible consumption. But the environmental story extends beyond the furniture. As part of the partnership, The Cotswold Company will make a significant investment in conservation activity in the Cotswolds, including support for the National Trust’s Stroud Landscape Project in the western Cotswolds. The work will include restoring species-rich grasslands and meadows, establishing new hedgerows, restoring traditional orchards, planting trees, enhancing priority habitats and sowing wildflower seeds. It creates a tan-

TOTAL BRAND LICENSING

gible connection between the products being created and the physical landscape that has helped inspire the partnership. That added purpose is becoming increasingly relevant within brand licensing. Consumers — and retailers — are looking more closely at what collaborations represent beyond the product itself, particularly where brands have strong environmental or social values. For heritage organisations, the opportunity is considerable. Partnerships can generate commercial returns while simultaneously supporting conservation, education or cultural preservation, ensuring that licensing activity feeds directly back into the purpose of the organisation. The collaboration will be supported by a multi-channel campaign across The Cotswold Company’s retail showrooms and digital platforms, introducing it to both existing customers and new audiences interested in design, craftsmanship and made-to-last furniture. Ralph Tucker, Chief Executive Officer at The Cotswold Company, described the partnership as an important strategic milestone for the business, highlighting the organisations’ shared focus on heritage, conservation and quality. He said the company is looking forward not only to developing collections inspired by some of the UK’s most treasured houses, but also to supporting conservation and nature restoration projects in the Cotswolds. For the National Trust, there is equal enthu-

siasm about the opportunities created by the partnership. Becky Stanford, Head of Brand Licensing for the National Trust, said the two organisations share values around heritage, craftsmanship and environmental responsibility, with the collection providing consumers with a way to connect with National Trust history within their own homes while helping support ongoing conservation work. That combination of history and contemporary relevance perhaps explains why heritage brands are finding an increasingly strong position within licensing. In a marketplace dominated by rapid product cycles and constantly shifting trends, provenance offers something different. Authentic heritage cannot be manufactured overnight. Organisations such as the National Trust possess genuine stories, recognisable values and a connection to culture and place that has been built over generations. For licensing partners, the opportunity is to unlock those assets intelligently. The National Trust and The Cotswold Company collaboration demonstrates what can happen when the match is right: two organisations using their respective expertise to create products inspired by the past, relevant to modern consumers and capable of contributing to the future of the landscapes and heritage from which they came. It is not simply heritage reproduced for the home. It is heritage reinterpreted — and, in the process, helping to preserve the real thing. PAGE 51

CAA BRAND MANAGEMENT

Minecraft Builds for the Future with Expanded Consumer Products Strategy

As one of the most recognisable gaming brands in the world, Minecraft continues to build its presence well beyond the game. Across Europe, the brand has developed a strong and successful consumer products programme, and as it looks towards 2027, the focus is firmly on building on that success and continuing to expand the wider Minecraft ecosystem into new categories, new audiences and new ways for fans to engage with the Minecraft universe. A major priority is broadening the brand’s

PAGE 52

reach beyond traditional gaming-related merchandise, with collectibles, tabletop and family games, creative play, food and beverage, and lifestyle products identified as key strategic growth areas for the coming years. Minecraft is increasingly moving into these areas, creating new opportunities for licensing partners to interpret the brand in fresh, relevant ways while helping to build a broader consumer proposition around the franchise. “Minecraft’s enduring success is rooted in its ability to connect with fans across a wide range of ages, interests and lifestyles,” says Shabnam Elmi, Director, Minecraft Consumer Products, Microsoft. “From children and families to teens, adults and collectors, Minecraft has built a passionate global community that has grown and evolved for nearly two decades. This breadth creates opportunities for licensees to develop products across multiple categories, demographics and price points, while staying true to the creativity, self-expression and iconic visual identity that define the brand.” One of the biggest opportunities on the horizon will be “A Minecraft Movie Squared,” scheduled for Summer 2027. Following the success of the first film, the next instalment represents a major platform for the consumer products programme, with opportunities for new product launches, retail programmes and collaborations surrounding its release. The film will also act as a catalyst to broaden the programme, creating new ways for fans to engage with Minecraft. Theatrical releases have increasingly become important moments within wider licensing strategies, providing brands with the chance to generate excitement well beyond the screen. For Minecraft, the next film offers another opportunity to connect entertainment, gaming, merchandise and fan experiences across multiple consumer touchpoints, while

bringing new audiences to the wider Minecraft universe. Play, creativity and collectability will also continue to be central to the programme. These areas are key strategic growth opportunities, with upcoming launches set to expand Minecraft’s presence in tabletop games, family games, collectibles and creative play. By translating the open-ended nature of the game into physical products, partners can create experiences that encourage imagination and interaction. Food and beverage is another category where Minecraft has established a strong presence. Following previous partnerships including Actimel x Minecraft, the brand has continued to explore opportunities across the sector. Recent activity has included Lola’s Cupcakes x Minecraft, while further growth is being targeted across confectionery and healthier snacking, bringing Minecraft into consumers’ everyday lives through accessible and relevant products. “As Minecraft’s licensing programme develops, authenticity remains key,” says Bethan Mackintosh, Director, CAA Brand Management. “Products and partnerships need to feel rooted in the world of Minecraft rather than simply carrying its branding, with the emphasis placed on creating meaningful experiences that resonate with fans and drive engagement.” With continued expansion across categories, partners and markets, momentum behind Minecraft’s consumer products business remains strong. The brand has already built a highly successful consumer products programme, but there is still whitespace to unlock. As 2027 approaches, the combination of new categories, broader audiences, and the major cinematic moment provided by “A Minecraft Movie Squared” gives licensees and retailers plenty of new scope to explore, helping to shape the next phase of Minecraft’s consumer ecosystem. TOTAL BRAND LICENSING

MONTE-CARLO

Monte-Carlo Lifestyle Builds the Next Chapter of its International Licensing Programme New partnerships, product launches and brand initiatives are driving the Monégasque company’s international growth while reinforcing its focus on quality, brand integrity and the lifestyle of Monte-Carlo. For Monte-Carlo Lifestyle, 2026 has been a year of expansion, not simply through new agreements, but through the continued development of a licensing portfolio designed to translate the spirit and international appeal of Monte-Carlo across different categories, markets and consumer audiences. Based in Monaco, Monte-Carlo Lifestyle manages an extensive portfolio of brands spanning lifestyle, fashion, food and beverages, including Monte-Carlo Lifestyle, Monte-Carlo Club, Monte-Carlo Attitude, Jardins de Monaco, Comte de Monte-Carlo, Baron de Monte-Carlo, Monte-Carlo Deli, amongst others. The company’s strategy combines selective licensing partnerships with a flexible brand architecture, allowing different concepts to address distinct consumers, categories and distribution channels while remaining connected by a shared Monte-Carlo identity. That strategy has gained further momentum during 2026. In food and beverages, long-standing Monégasque licensee SMGS expanded its agreement with Monte-Carlo Lifestyle across additional brands and categories. The partnership has already resulted in several launches this year, including an organic lemonade under Jardins de Monaco and new beers and wines under Baronne de Monte-Carlo as well as caviar and gourmet panettone under Monte-Carlo Deli. The Baronne de Monte-Carlo wine collecTOTAL BRAND LICENSING

tion represents both the brand’s first organic wine range and SMGS’s first collection of single-varietal wines. Chardonnay, Grenache rosé and Merlot have been developed as a more accessible expression of the portfolio, bringing the Monte-Carlo proposition to a broader consumer audience. Beyond food and beverage, MCL continues to develop opportunities across fashion, accessories and lifestyle categories. Projects and partnerships are progressing in areas including jewellery, sportswear and travel accessories, alongside opportunities in home, beauty, hospitality and other sectors with a natural connection to the Riviera lifestyle. Recent developments also demonstrate how the portfolio can operate at different levels of the market, from prestige products to more accessible premium propositions. Rather than applying a single formula across every brand, MCL aims to match each identity with the right category, positioning, distribution environment and partner. The company is also extending its visibility beyond traditional product licensing. In 2026, Monte-Carlo Lifestyle expanded its partnership with the Legends Cup, strengthening the relationship between the brand and the international sporting event. The collaboration reflects a wider approach to brand development, connecting products with experiences and partnerships that reinforce the portfolio’s lifestyle positioning and international reach. This growth is being accompanied by an increasingly structured approach to brand governance. In 2026, MCL introduced the Monte-Carlo Lifestyle Certification of Excellence, a proprietary system designed to identify licensed products meeting the company’s

standards for quality, design, brand integrity and responsible product development. Making its market debut across selected products developed by SMGS, the certification has been conceived for application across the wider licensing programme, establishing a common standard while allowing each brand to retain its individual identity and positioning. “Monte-Carlo has an extraordinary international appeal, but our responsibility is to translate that appeal into products and partnerships that feel credible,” says Erwann Guegan, Co-Founder & CEO of Monte-Carlo Lifestyle. “We want to build relationships with partners who understand the long-term value of the brands and can bring something meaningful to their categories and markets.” With activity extending across Europe, North America and Latin America, MCL is continuing to explore new territories, categories and distribution opportunities while strengthening relationships across its international network. As the international licensing community gathers in London, Monte-Carlo Lifestyle enters its next phase with a clear ambition: to expand selectively while protecting the identity, quality and sense of place that distinguish its portfolio. From gastronomy and fashion to travel, hospitality and lifestyle products, the company is continuing to seek partners capable of translating the spirit of Monte-Carlo into relevant products, experiences and markets around the world. PAGE 53

HOWARD ROBINSON

From licensed artist to puzzle supremo! Howard Robinson has enjoyed enormous success as a licensed artist over recent years. A key category for Howard’s work has, of course, always been puzzles. Below, he talks about his puzzle journey and discusses what he is currently working on. “I am currently working on new puzzle designs for MasterPieces in the US, one featuring winter birds and another showcasing Arizona wildlife. This got me thinking about just how much jigsaw puzzles have shaped my career. In many ways, they have been a driving force that has enabled me to pursue so many other creative opportunities. My first licensed puzzle design was created for Jumbo International as far back as 1994. One very successful design, Animal Magic, was initially licensed to Waddingtons in 1998 and taken over by Hasbro later that year has continued to be licensed and generate royalties every quarter for the past 28 years through a variety of companies around the world. Another memorable moment came in 2006 when I was commissioned to create a painting for President George Bush’s 60th birthday, featuring his two dogs on the White House lawn. The image was then hand-crafted into a puzzle by Elms. Success in the puzzle industry is not simply a matter of painting attractive or random images. I made a point of studying the catalogues of every publisher I could find and visiting the shelves of as many stores as possible. Over time, this helped me understand the types of imagery and styles that worked for different PAGE 54

companies, countries, and markets. As a result, whenever I created a new image, I was usually able to identify the right licensing partner and give it the best possible chance

of success. I am also constantly looking for emerging trends and considering how they might translate into puzzles. These can come from upcoming films, advertising, rare aniTOTAL BRAND LICENSING

HOWARD ROBINSON mals being bred, new zoo exhibits, scientific discoveries, fashion trends, or even popular colour palettes. I have been fortunate to work with many leading companies, including Ravensburger, with whom I have worked since 1998. Their approach is similar to my own: they are meticulous and have an exceptional understanding of their market. Some of the designs I licensed to them in 2012 are still featured in their catalogue and continue to generate strong sales 14 years later. For my Selfies designs, I partnered with Ceaco in the United States. They placed the images in the mass market, producing significant volumes while keeping the range fresh through a quick annual turnover of new designs. Of course, things have not always gone according to plan, and there have been some particularly puzzling decisions along the way. A large European publisher I had worked with for several years underwent a change of staff and invited me to a meeting so we could get to know one another. A meeting was arranged in London and attended by representatives from three different countries. There were a few early warning signs, including questions about licensing images that were already part of their own range. However, the meeting ultimately appeared to go well, and they decided they wanted to publish a collection of 10 images under my own Howard Robinson brand. This was exciting news. Over the following 10 months, I created a collection I was very proud of and submitted it for approval. I received no response until a late-night meeting in Times Square, New York, on the eve of the Surtex licensing show. The CEO asked

TOTAL BRAND LICENSING

“In 2006 I was commissioned to create a painting for President George Bush’s 60th birthday, featuring his two dogs on the White House lawn. The image was then hand-crafted into a puzzle by Elms.” whether everything was in order, at which point the design director announced that, because I already had seven of the company’s top 10 bestsellers, they had decided they did not need any more of my designs. This was was certainly not the outcome anyone else around the table had expected. Fortunately, I had a strong selection of work ready for the Surtex show the following day, where the designs were quickly picked up. Another puzzling moment came in 2010, when I was approached by one of the largest

Toy and Game publishers in the United States about an image that was already licensed. I offered to create a new painting especially for them and made sure it was the best it could possibly be before submitting it for approval. Their response was that, following a meeting with the art department, they had decided my artistic style was not suitable for puzzles. How they reached that conclusion still baffles me. At the time, I had 414 puzzles licensed to 68 companies worldwide, ranging from independent stores, national parks, and airports to complete product lines in Kmart Australia, Beals Ukraine, Target, and even prominent end-cap placements in Walmart. Together, those designs had generated sales of more than 2.4 million units in that quarter alone. Somehow, they had overlooked all of that. Fortunately, it did not matter in the end: I licensed the rejected image to three companies around the world that same day, and it has remained one of my most popular designs ever since.”

PAGE 55

CLASSICS

Betty Boop Steps into Fall with New Brand Collaborations The Queen of Cartoons Will Appear on New Streetwear, Plush Collectibles, and Limited-Edition Art Prints Leading brand-licensing agency Global Icons and Fleischer Studios, owners of the beloved Betty Boop and several other classic animated cartoon characters, have entered into new licensing collaborations for the celebrated Queen of Cartoons, including launches for new apparel, accessories, and plush collectibles. Palace Skateboards Ltd is the feted London brand that has grown from an underground skate company into a global streetwear powerhouse. Betty Boop will star in their fall 2026 capsule collection, which includes varsity jackets with chenille embroidery, hooded sweatshirts, T-shirts, caps, and beanies. The capsule continues Palace’s history of projects that reinterpret cultural icons through the brand’s skate-led design language. This fall, Youtooz, which creates high-quality collectibles with the goal of bringing to life the most memorable online moments and personalities that bring people joy, will drop a limited-edition Betty Boop plushy fans can add to their collections. Since 2019, Youtooz

PAGE 56

has released over 2000 figures, including plush characters and figurines of music artists, content creators, animated characters, and more. Their new Betty Boop plushie is expected to be released in October. Betty Boop has also been keeping fans entertained with a number of recent popular collabs, including limited-edition Betty Boop art prints from London based publishing house Oditi, and new Facer watch themes from Bare Tree Media which are available for Samsung, Apple, and Android. Recently, the award-winning Broadway show Boop! The Musical wrapped up its first international tour in Japan. This fall, Aliya Grace will star as Betty Boop in the North American Tour of the acclaimed show, which will officially launch its 50-week tour at Rochester, NY’s West Herr Auditorium Theatre, playing October 3-10. Betty Boop was created by Max Fleischer for his “Talkartoons” series, the world’s first animated “talkies” which Max’s company, Fleischer Studios, produced for Paramount Studios. In the 1930 cartoon “Dizzy Dishes,” the first of the series, Betty’s unnamed precursor character appeared as a dog-like stage performer who sang and danced with another dog-like character named Bimbo, joyfully entertaining vast audiences of other Fleischer characters from the animal kingdom. Inspired by the collective energy, style and sound of the many popular Jazz Age flappers and entertainers of the 1920s, Betty quickly evolved into a full-fledged human character, becoming the only female animated screen star in the world. Voiced by Mae Questel, Betty starred in more than 100 cartoons, 90 of which are included in the official Betty Boop series, which ended in 1939. Since then, Betty has appeared in dozens of hit movies, television specials, commercials, and was the first cartoon character to be profiled by A&E’s Biography series. Today, Fleischer Studios with their team of creative professionals and worldwide licensing agency, Global Icons (globalicons.com)

continue to parlay the iconic Betty Boop into a worldwide licensing and entertainment phenomenon, delighting millions of fans and collectors alike. Please visit them online at fleischerstudios.com and bettyboop.com.

TOTAL BRAND LICENSING

FOOD & BEVERAGE

Serving Up New Opportunities Food and drink licensing continues to broaden its horizons, with restaurant names, heritage brands, entertainment properties and established FMCG favourites all finding new ways to move beyond their traditional categories. From frozen food and celebration cakes to lifestyle products and premium beverages, licensing is increasingly being used to create additional consumer touchpoints while extending the equity of familiar brands. Food Brands Now: Taking Brands Beyond Their Traditional Categories Not that long ago, food and drink licensing was largely associated with character brands and novelty products. Today, according to specialist licensing business Food Brands Now, it has become one of the fastest-growing areas of product innovation across retail. The company believes much of that growth is being driven by consumers wanting more from brands they already know and trust. Restaurant, entertainment, sports, health and wellness brands are increasingly being given opportunities to move beyond their traditional categories and into new parts of consumers’ everyday lives. Restaurant brands, for example, are becoming increasingly active at retail as they look to extend engagement beyond their physical venues. Food Brands Now recently worked on the launch of Toby Carvery into the frozen aisle, allowing consumers to recreate part of the restaurant experience at home. Health and wellness represents another significant opportunity. Brands such as Myprotein have developed strong consumer recognition that can provide a platform for expansion beyond supplements and into wider food categories, particularly as demand for convenient, protein-rich products continues to rise. Entertainment is also opening up new possibilities. Food Brands Now points to The Traitors as an example of an entertainment property able to translate audience engagement into retail products, giving viewers another way to interact with the brand away from the screen. Meanwhile, disruptive FMCG names such as Tango, with strong awareness, a distinctive PAGE 58

personality and clear flavour credentials, can use licensing to reach new consumers, create new consumption occasions and enter additional categories without developing manufacturing capabilities from scratch. Food Brands Now says it is seeing greater interest in the sector from brands, manufacturers and retailers alike, with all three looking for differentiated concepts capable of standing out in a crowded marketplace. For the company, authenticity remains fundamental. The strongest extensions are those which feel less like a licensing exercise and more like a natural next step for the brand. Monte-Carlo Lifestyle Broadens Food and Beverage Ambitions Elsewhere in the market, Monte-Carlo Lifestyle has expanded its licensing agreement with SMGS, adding five further brands from its portfolio and widening the range of food and beverage categories covered by the partnership. The agreement now includes Jardins de Monaco, Domaine de Monaco, Monte-Carlo Club, Monte-Carlo Deli and Baronne de Monte-Carlo, with potential products spanning wines, gin, beer, liqueurs, sparkling waters, lemonades and other non-alcoholic

drinks, together with caviar and delicatessen products. Monte-Carlo Lifestyle says the expansion is designed to allow each brand to retain its individual positioning and visual identity while creating a coherent wider portfolio. It also supports the company’s ambition to translate the heritage, lifestyle and international appeal associated with Monaco into products for contemporary consumers and selected international markets. New concepts and launches will be revealed progressively. Heaven Hill Looks Beyond the Drinks Cabinet In the US, Heaven Hill Brands has appointed Earthbound Brands as its exclusive licensing agency, with plans to take a portfolio of established spirits brands into new food, beverage and lifestyle categories. Founded in 1935, the family-owned company has developed a substantial portfolio spanning American whiskey, vodka, tequila, rum, Canadian whisky and liqueurs. Brands included in the licensing programme include Elijah Craig Bourbon, Deep Eddy Vodka, Tequila Ocho, Evan Williams Bourbon, Lunazul Tequila and Hpnotiq. TOTAL BRAND LICENSING

FOOD & BEVERAGE Earthbound will develop a licensing strategy around the individual positioning and consumer recognition of each brand, identifying opportunities across new categories, experiences and retail channels. For Heaven Hill, which celebrated its 90th anniversary in 2025, the move represents another route through which its brands can meet consumers while retaining the identities that have been built over generations. The appointment also further expands Earthbound Brands’ presence within food and beverage licensing. Heritage and Flavour Drive Swizzels Expansion For Blonde Sheep Licensing, heritage, nostalgia and distinctive flavours are proving powerful ingredients in the continued development of the Swizzels licensing programme. As Swizzels approaches its centenary in 2028, familiar names including Love Hearts, Refreshers and Drumstick are providing the basis for expansion well beyond traditional

TOTAL BRAND LICENSING

confectionery. Recent activity has taken the brand into biscuits, milkshakes, frozen treats and bakery, alongside premium and experiential collaborations. Blonde Sheep believes the emotional connection consumers have with nostalgic confectionery brands gives them particular strength at a time when shoppers are seeking familiar, comforting and playful experiences. Blonde Sheep has also added YAZOO to its portfolio. The milkshake brand enters licensing with refreshed creative positioning centred around its ‘Have a YAZOO With Yourself ’ campaign. With high consumer awareness and a playful identity already established, the brand is being positioned for potential extensions across multiple categories, combining flavour-led opportunities with feel-good storytelling. Thorntons Takes a Classic Chocolate Into Cake And sometimes a successful extension can come from reimagining a single familiar

product. Finsbury Food Group has expanded its licensed celebration cake portfolio with the launch of the Thorntons Viennese Continental Cake, transforming the flavour profile of the brand’s Viennese Truffle into a new sharing format. Launching exclusively in 160 Asda stores, the cake combines chocolate and vanilla sponge with chocolate frosting, milk chocolate curls and Viennese Truffles from the Thorntons Continental range. The launch comes as Thorntons Continental continues to record growth within boxed chocolates, with Nielsen figures cited by the companies showing year-to-date value growth of 10% and volume growth of 7% to 8 August 2026. Finsbury and Thorntons have worked together for a number of years, and both see the new product as a natural way to give consumers another opportunity to experience a familiar part of the Thorntons portfolio. It is also a neat illustration of where food and drink licensing is heading. Rather than simply placing a well-known name onto an unrelated product, many of today’s strongest extensions are taking the flavours, associations, occasions and emotional equity already embedded in a brand and translating them into something new. For licensors, manufacturers and retailers alike, that opens up a considerably bigger menu of possibilities. PAGE 59

FASHION

In Fashion

Brands, Culture and Collaboration Meet Fashion remains one of the most visible and versatile areas of brand licensing, with partnerships increasingly moving far beyond the traditional logo-led capsule collection. Today’s collaborations are drawing on gaming, food, sport, wellness and heritage, often blending very different audiences and aesthetics to create products with genuine cultural relevance. From luxury fashion houses embracing gaming icons to lifestyle brands moving into new product categories, fashion continues to provide brands with an opportunity to reinvent themselves, reach new consumers and create products that feel both timely and collectible. Fabletics takes collegiate apparel nationwide Fabletics is significantly expanding its presence in the collegiate apparel market, extending its College Shop to more than 200 colleges and universities across the United States. The activewear brand is bringing its signature performance fabrics and fashion-led approach to school-branded apparel, targeting students, alumni and fans looking for alternatives to traditional collegiate T-shirts and logo merchandise. Participating colleges range from major universities including Indiana, LSU, Michigan

PAGE 60

and Ohio State to smaller institutions such as Central Oklahoma, Emory and Wisconsin-Whitewater. The expanded assortment incorporates some of Fabletics’ best-selling silhouettes alongside embroidered matching sets and custom collegiate graphics, designed to transition from campus and game day into everyday wear. Following what the company described as a stronger-than-expected response to its initial College Shop launch, Fabletics is also testing the concept in physical retail. Fourteen Fabletics stores close to major university campuses, including Arizona State University, Michigan State and UCLA, are taking part in a pilot programme featuring a selected range of collegiate styles. The company will use the programme to assess in-store demand ahead of a potential wider rollout. The expansion comes as Fabletics continues to broaden its retail, e-commerce and wholesale footprint following reported net revenue of more than $1 billion in 2025. Balenciaga enters the SEGA universe Gaming and luxury fashion continue to move closer together, with Balenciaga announcing an official partnership with SEGA. The collaboration combines Balenciaga’s fashion identity with imagery from the Japanese gaming company, including one of its most

recognised properties, Sonic the Hedgehog. The Balenciaga | SEGA collection includes ready-to-wear pieces and merchandise, with selected products developed specifically for Japan. A varsity jacket and long-sleeved T-shirt feature graphic artwork combining Balenciaga branding with SEGA imagery and references to Sonic. A more widely distributed merchandise range includes nylon bomber jackets, oversized T-shirts, zip-up hoodies and caps, with designs incorporating Sonic imagery, SEGA-inspired typography and Balenciaga branding. The collaboration was unveiled around Tokyo Game Show, positioning the launch firmly at the intersection of fashion, gaming and contemporary Japanese culture. Balenciaga also marked the partnership at its Tokyo Aoyama flagship with two vintage SEGA Blast City arcade machines. One featured a playable version of Sonic the Fighters, the SEGA title first released in 1996. For Balenciaga, the partnership represents another move into the global gaming space, while for SEGA it demonstrates the continuing potential for established gaming properties to translate into high-end fashion. Blvck Paris gives Pringles the monochrome treatment Perhaps one of the more unexpected fashion collaborations comes from Blvck Paris and

TOTAL BRAND LICENSING

FASHION Pringles, brought together in partnership with BrandDesign. Blvck Paris has built its identity around its distinctive “All Black Everything” philosophy, creating a lifestyle aesthetic rooted in monochrome design, internet culture and contemporary luxury. The Pringles collaboration brings one of the world’s most recognisable snack brands into that visual universe. The limited-edition capsule combines Blvck Paris’ stripped-back black aesthetic with Pringles’ familiar iconography, creating a collection that plays with the contrast between minimalist luxury and mass-market pop culture. It is also indicative of a broader trend within fashion licensing: the increasing appeal of unlikely brand combinations. Food and beverage brands in particular have become fertile territory for fashion collaborations, with familiar packaging, characters and logos offering immediate recognition and nostalgia. For consumers, these products can operate as much as collectible cultural objects as conventional fashion pieces. Volcom moves into eyewear and protective headwear Volcom is expanding into new lifestyle and performance categories through a European partnership with French eyewear and protection specialist Loubsol. Under the agreement, Loubsol will design, manufacture and distribute Volcom-branded sunglasses, optical eyewear and accessories, sports goggles and protective helmets for men, women and children across Europe. The partnership draws directly on Volcom’s heritage in skateboarding, surfing and snowboarding. Founded in 1948, Loubsol brings extensive experience in sunglasses, ski goggles and protective headwear, with the companies aiming to combine its technical expertise with Volcom’s distinctive boardsports identity. For Volcom, eyewear, goggles and helmets represent a logical extension into products closely associated with the activities around which the brand has developed. The first Volcom eyewear collection is scheduled to launch in Spring 2027, followed by snow goggles and helmets the following season. TOTAL BRAND LICENSING

Sweaty Betty extends its brand into beauty and wellness Fashion and activewear brands are increasingly looking beyond clothing as they seek a greater role in consumers’ wider lifestyles — and Sweaty Betty is the latest to make that move. The brand has launched a Beauty & Wellness Collection designed around everyday selfcare, wellbeing and post-exercise routines. Developed with SLG Brands, the range includes body and hair mists, body polish, exfoliator and lotion across four collections: Keep It Chill, After Class, Clean Start and Sweat Reset. A signature fragrance combines white jasmine, creamy vanilla and soft woods and uses AromaWellness Relax technology, with the overall range intended to create moments of calm and reset throughout the day. For Sweaty Betty, the range is positioned as a natural extension of its existing focus on fitness and female wellbeing, moving the brand from activewear into a much broader lifestyle proposition. The launch also highlights the growing potential for established fashion and sports brands within beauty, wellness and personal care — categories which allow brands to engage consumers at additional points throughout their daily routines. Popeye builds fresh fashion momentum Few characters have enjoyed a fashion career as long or as varied as Popeye, and the Sailor Man is entering another particularly active period. Recent collaborations have taken the character across streetwear, resort wear and Japanese fashion. Following a Shoe Palace collection featuring Popeye and his supporting cast, the character appeared in MC2 Saint Barth’s Spring/ Summer 2026 collection, with the resortwear brand already confirming another collaboration. In October, Japanese label Kapital is also set to launch its own Popeye collection, placing the character within a design world known for combining vintage American influences with traditional Japanese craftsmanship. The recent activity builds on Popeye’s longstanding relationship with fashion.

Popeye and Olive Oyl have previously appeared in collections and collaborations involving names including Moschino, Moncler and ICEBERG. The character also has a particularly strong cultural connection with Japan. POPEYE magazine, the influential Japanese men’s fashion and lifestyle title, is approaching its 50th anniversary, having played a major role in introducing generations of Japanese readers to American West Coast fashion and culture. Together, these collaborations demonstrate the remarkable flexibility of a character approaching a century in the public consciousness. With Popeye’s 100th anniversary arriving in 2029, fashion is likely to remain an important part of the brand’s licensing story — bridging heritage, nostalgia and contemporary style.

PAGE 61

ART & DESIGN

Beyond the Wallpaper: What Is a Surface Pattern System? by Keith Alexander, KAB Designs Surface pattern design is often associated with a single application: a print for textiles, artwork for wallcoverings, or a motif adapted to a particular product. But what happens when we begin thinking about surface design not simply as an individual application, but as a visual language capable of moving across materials, scales, products and environments? I think of this approach as a Surface Pattern System. Rather than defining where a design must ultimately live, the system begins by considering where it could live. A visual idea might be interpreted architecturally in a ceiling or feature wall, given dimension through a relief panel, translated into textiles, or adapted for tabletop and consumer products. Not every design needs to appear in every category. The objective is to develop artwork with enough visual strength and adaptability to offer multiple possibilities. The accompanying Surface Pattern System diagram illustrates six areas in which I currently explore that potential: Ceiling Systems, Expressions, Relief Panels, Textile Systems, Tabletop & Dinnerware, and Product Applications. The images represent different design families rather than one collection carried through all six categories. Together, they demonstrate the range of applications that the broader system can accommodate. Designing Beyond a Single Surface That distinction is important because different applications make very different demands on a design. A pattern that works beautifully on fabric may need to be reconsidered when translated into a large architectural installation. Scale changes. Materials change. Manufacturing processes change. Light can become part of the design. A flat graphic can acquire depth and shadow when interpreted as a relief surface. On dinnerware, only fragments of a larger composition may be needed. On a handbag or other consumer product, placement and proportion introduce another set of considerations. The goal is therefore not simply to reproduce the same artwork repeatedly. It is to identify the underlying qualities of a PAGE 62

design—its rhythm, geometry, movement, color relationships or other recognizable characteristics—and determine how those qualities can survive translation into another form. That is where the idea of a system becomes useful. From Pattern to Environment Hospitality provides an especially interesting setting for this approach because a guest rarely experiences an interior one surface at a time. Hotels, restaurants, cruise interiors and destination spaces are composed of architecture, lighting, furniture, textiles and objects working together. Surface design can participate in many of those layers. A ceiling can become a defining architectural feature. An expressive glass or wall installation can establish color and movement within a space. Relief panels can introduce physical dimension. Textiles bring the visual language closer to the guest through bedding, upholstery and other soft surfaces. Tabletop and product applications can extend design beyond the architecture altogether. Within a coordinated project, those applications could draw from a single design family, allowing related elements to appear throughout an environment without requiring every surface to match. That last point matters. Coordination is not repetition. A successful visual system should allow individual applications to have their own character. A Scalable Licensing Opportunity This way of working also creates an interesting proposition for licensing. Instead of beginning with the question,

“Which product should this pattern go on?”, the conversation can begin with, “Which applications could this design language support?” Those applications do not necessarily have to be produced together, nor do they have to involve the same manufacturing partner. A textile manufacturer may see one opportunity, an architectural-surface company another, and a tabletop or consumer-product partner something entirely different. Licensing can then be structured around the appropriate category, product, material, territory or project while the designer retains the ability to develop the visual language elsewhere. For manufacturers and brands, this offers access not simply to an isolated image but potentially to a broader family of related design opportunities. For the designer, it encourages thinking about adaptability much earlier in the creative process. And when a project does call for several coordinated applications, the system already provides a foundation from which those relationships can be developed. Beyond the Individual Pattern For me, that is ultimately what makes the idea of a Surface Pattern System compelling. It does not diminish the importance of the individual pattern. It asks us to consider what else that pattern might become. A design can remain a textile. It can remain a piece of dinnerware. It can remain an architectural surface. But it can also become the beginning of something larger. As licensing continues to move across increasingly diverse products and environments, that ability to think beyond a single application creates room for new kinds of partnerships between designers, manufacturers and brands. Perhaps the most interesting question for surface pattern design, then, is no longer simply “Where can this pattern be placed?” It may be: “How far can this design language travel?” Keith Alexander is the founder and designer behind KAB Designs, developing original surface pattern systems for licensing across architectural environments, textiles, tabletop, and product applications. TOTAL BRAND LICENSING

PROTECTING BOOK RIGHTS

Can book titles be protected as registered trade marks? By Mary Anyasodo, Reddie & Grose Can book titles be protected as registered trade marks? If some can, have others simply become too famous in their own right to gain registered protection?

entertainment services. They were rejected outright, on grounds that they were descriptive and lacked distinctive character. The reasoning here was that because the signs ANIMAL FARM and 1984 are so widely known, consumers would perceive them as references to the novels themselves, and fail to link them to any one company. For the applications covering bags, mugs, and clothing, the trade mark applications were more successful. It was held that here the signs did not read directly onto the content of the goods, so consumers would perceive ANIMAL FARM and 1984 as brand names, not literary references. As ANIMAL FARM and 1984 could function as badges of commercial origin, registration was granted for the goods covered in those classes.

This question was recently considered by the EUIPO Grand Board of Appeal (‘The Grand Board’), which typically hears only the most legally challenging cases. It was wondered whether its judgment in cases R 1719/2019G and R 1922/2019-G could become the leading EU authority on registering titles of literary works. The trouble is, the answer the Grand Board reached is largely “it depends”. The book titles in question are ANIMAL FARM, arguably the most famous twentieth-century political allegory, and 1984, the dystopian classic. Written by George Orwell, these titles have been used beyond references to the books themselves; they have become staples of popular modern culture. The EU trade mark applications in question were filed by the estate of Orwell’s late wife Sonia Brownell, who served as the guardian of his literary legacy until her death in 1980. The trade mark applications filed by the estate included those covering books, DVDs, toys, games, and

TOTAL BRAND LICENSING

The estate decided to appeal the rejection of some of their trade mark applications, and the case was put before the Grand Board because there were some inconsistencies in the previous decisions on other famous titles, including: THE JUNGLE BOOK, PINOCCHIO, Frühlingsfest der Volksmusik, and Le Journal d’Anne Frank, among others. The EUIPO, in referring, thought it was time for some authoritative guidance and clarity. Those in the industry took notice of the estate’s appeal, and a number of different entities filed observations, including the attorneys’ representative body, INTA – weighing in on how the law here applies

across different EU Member States and how it intersects with copyright protection. The Grand Board decided to uphold the original rejection, finding that both ANIMAL FARM and 1984 are descriptive and therefore not distinctive, for the goods and services covered in the rejected trade mark applications. The Grand Board confirmed there is no automatic ban or automatic acceptance of the registrability of famous literary titles. Instead, a case-by-case assessment should be applied. So does the same logic apply to film titles, or the signs used in a series of books or films with sequels and prequels? The EUIPO’s Executive Director submitted comments including suggestions that the same consumer perception test should apply more broadly to other content-driven goods and services, including films. Further reference was made to an earlier decision on the sign DR No (T435/05), which hinted that consumers are in fact more likely to perceive the title of a book series as a badge of origin than with a standalone book or film. However, the Grand Board did not expressly adopt these observations in its legal reasoning as this case primarily focused on the registrability of the titles of standalone literary works, not a series of books using the same sign in their titles.

PAGE 63

COMMENT

The Brand Jam Collaborations’ Observatory Brand Jam tracks and analyses over 300 innovative licensing collaborations and brand extension initiatives each quarter through its Collaborations Observatory. This issue highlights a common thread among the latest activations, where cultural relevance, fandom and narrative are the real value drivers, while execution determines whether that value translates into a meaningful product. Nostalgia Without Memories For Gen Z, nostalgia does not necessarily mean looking back at their own past. It can mean appropriating an aesthetic from a time they never experienced, turning the 1990s into a cultural moodboard rather than a personal memory. Gap makes this explicit with its limited-edition denim capsule with Hailey Bieber. The collection revisits the brand’s ’90s silhouettes and advertising codes, while the campaign reinforces the period aesthetic through pho-

PAGE 64

tography and The Cranberries’ Linger. Yet for much of its target audience, the decade exists only through fashion archives, social media and pop culture references. A similar mechanism drives Beefeater’s collaboration with Jamiroquai, for the launch the alcohol-free version. Recreating the iconic world of Virtual Insanity 30 years after its release, here too, the original cultural reference is updated to address a contemporary consumer behaviour, linking nostalgia with the growing moderation trend.

In both cases, the ’90s are not being recreated for those who remember them, but reinterpreted for a generation discovering them second-hand. For brands, nostalgia is consequently becoming less about memories and more about the cultural currency of an aesthetic. K-Pop Goes Mainstream and Lands on the Food Shelf K-Pop has rapidly evolved from a music genre into a global cultural reference, and mass-market food and beverage brands are

TOTAL BRAND LICENSING

COMMENT

increasingly using its fandom to build relevance. The particularly significant development is the way Korean culture itself travels with it, turning previously local products into global lifestyle propositions. Oreo’s collaboration with BTS goes beyond celebrity endorsement. The limited-edition cookies incorporate hotteok, a traditional Korean snack, while collectible designs and fan participation turn the product into a direct touchpoint with BTS’s global community. Oreo is effectively using K-Pop not simply as a promotional platform, but as a gateway to a wider cultural universe. The same dynamic is particularly visible in the international expansion of soju. California-based Hello Soju has partnered with Los Angeles FC, using football fandom to introduce the Korean spirit to a new audience, while leading soju brand Jinro has appointed BTS member V as global ambassador. The significance goes beyond K-Pop licensing: a Korean cultural product is becoming globally marketable through the fandom ecosystems that surround Korean culture.

From cookies to spirits, K-Pop is proving its ability to move Korean references from niche cultural territory into the mass-market mainstream. From Reference to Relevance Art licensing can bring cultural value to everyday products, but the quality of the collaboration ultimately depends on what happens between the artwork and the final product. Two recent cases show the difference between a reference that informs the output and one that risks remaining mainly decorative. Casetify’s collaboration with Tate, Turning Points in Modern Art, translates works by Turner, Monet and Kandinsky across phone and laptop accessories, chargers, stands and even luggage. The strength of the project lies in the breadth of the output: the artworks are not simply reproduced, but become a visual language adapted to a coherent range of contemporary objects. The recent M.A.C Cosmetics collaboration with Jean-Michel Basquiat starts from a

TOTAL BRAND LICENSING

similarly strong conceptual premise, connecting his transformation of everyday materials with cosmetics as tools for self-expression. Yet the execution is more conventional, relying largely on existing M.A.C formats and the artist’s recognisable crown as the main visual reference. The contrast highlights an important point for licensed collaborations: the reference is only the starting point. The real value is created through the output — how deeply the cultural source shapes the product, and whether the collaboration creates something that could not have existed without it. You can read about the most interesting collaborations, merchandising, licensing and brand extension insights on BrandJam.it/ en every week, and send any queries or comments to paolo.lucci@brandjam.it. BrandJam.it/en paolo.lucci@brandjam.it

PAGE 65