®
Fall 2012
LICENSINGBOOK THE
BUILDING BUSINESS THROUGH PARTNERSHIPS
Welc om e to Bra nd Li c ensing Europe Cover Art by Dustin Glick
D ep ar tm en ts 10 Editor’s Point 11 Stat•Shot Consumers are viewing more online content on their televisions. 12 Kidz Global Understanding a brand’s popularity index in relation to its competitors can improve consumers’ future purchase intentions. 16 Look Inside: Eddie Bauer A peek at Eddie Bauer’s plans for international retail store expansion and insight into the company’s success. 20 Marketing Memo Jim Sachs offers tips for succeeding in this challenging economic environment.
“Can you help me with this Big Ben app? It keeps asking for my chip and pin.” VOLUME 29, NUMBER 4
Features 17 All the World’s a Stage
As licensors seek admission to international markets, attracting retailers and consumers requires retooling their approach for each region. For each global strategy, licensors need localized plans for each target region. As U.S.-based properties travel the world, international properties are setting foot in the U.S. and encountering one large, regionalized marketplace.
22 Retailers Revving Up for Re-Engagement
Carol Spieckerman, president of newmarketbuilders, discusses how retailers are leaving legacy approaches behind, testing new waters, and unleashing new tactics, many of which will gain traction during the critical holiday shopping season.
26 Brand Licensing Europe
Our annual look at London’s licensing show, featuring coverage of international brand and property owners and what they’re planning to unleash on the world stage.
8
Fall 2012
25 Property Profile: Walking with Dinosaurs BBC America unveils plans for the next iteration of the successful entertainment property. 52 Corporate Corner Coca-Cola Worldwide Licensing rolls out a line of licensed products focused on enhancing the Coke drinking experience. 54 Good Practices Tips for staying aware of potential supply chain issues. 58 Property Profile: The Little Prince Novella celebrates 70 years with new licensed products. 60 Social Media How to use Pinterest to grow your business; the anatomy of an effective Facebook post. 64 Licensing Administration Amos Biegun discusses how to prepare for the future of the industry. 66 Mayhem & Mishaps Maureen McHale shares her true story of a 35hour workday. 68 Of Counsel James Kipling discusses representation and warranties that should not be overlooked in licensing agreements. 70 Directory
LICENSINGBOOK
®
www.licensingbook.com
Cover Art by Dustin Glick www.dustinland.com
EDITOR’S POINT
THE
ADVENTURE PUBLISHING GROUP INC.® Vol. 29, No. 4, Fall 2012 At International Licensing Expo in Las Vegas, the running theme I encountered, no matter the type of property, was the importance of going global. International expansion is a challenge, but international success is a sign of strength and vitality, not to mention a significant source of revenue. There are many strategies, be it a slow rollout, or a simultaneous global launch. The key, in any case, is to know the markets, know the culture, and learn what works and what doesn’t. Since you really can’t be an expert in all countries and cultures, hook up with agents in each region who can ensure that you get the most out of your launch and don’t commit a cultural faux pas. Check out the article, “The Challenges of Going Global,“ on page 17. On the topic of going global, this issue’s main focus is Brand Licensing Europe and the introduction of new properties available for license around the world, in every category imaginable. Take a peek at some of the top properties exhibiting at the show, with our coverage beginning on page 26. When trying to measure the relevance and potential success of a property, it can be beneficial to measure its popularity against the competition. Kidz Global is a market research firm that studies top kids’ properties in a number of countries and compares their popularity to gain this type of insight. Flip to page 12
10
Fall 2012
to learn more. Another ongoing topic of conversation is the many ways in which consumers are engaging with brands and how retailers are revamping their tactics to stay relevant. From merchandising and marketing upgrades to social shopping and testing the waters with commuter commerce, retailers around the world are finding ways to get consumers’ attention and keep them coming back for more. Turn to page 22 to learn more about the ways retailers are “Revving up for ReEngagement.” As retailers strive to do their part, property owners and manufacturers should be engaging with consumers as well. You may feel as though you’ve heard enough lecturing on the importance of social media, and you are either making the effort or pretending it’s not as important as it is. Here at The Licensing Book, we will continue to insist you make the effort, and not half-heartedly. We’ve included two social media expert articles in this issue. One is on the topic of Pinterest (page 60), which is rapidly becoming one of the most relevant ways to reach consumers, particularly consumers who are in the mood to shop. The other article covers “The Anatomy of an Effective Facebook Post.” Facebook may seem like old hat by now, but are you using it as effectively as you could be? Find out on page 62. ••••
President/Co-Publisher Laurie Schacht laurieschacht@aol.com
Co-Publisher Jonathan Samet jsamet@adventurepub.com
Editorial Director Jackie Breyer jbreyer@adventurepub.com
Associate Editor Loren Moreno lmoreno@adventurepub.com
Assistant Editors Marissa DiBartolo mdibartolo@adventurepub.com
Christine Duhaime cduhaime@adventurepub.com
Sierra McCleary-Harris smcclearyharris@adventurepub.com
Editorial Assistant Ali Mierzejewski amierzejewski@adventurepub.com
Production Director Anthony K. Guardiola aguardiola@adventurepub.com
Controller/Office Manager Robert Forde rforde@adventurepub.com ADVENTURE PUBLISHING GROUP, INC.® 307 SEVENTH AVE., ROOM 1601 NEW YORK, NY 10001 TELEPHONE: (212) 575-4510 FAX: (212) 575-4521
Stat•Shot
Consumers Viewing More Online Video Content on TVs
hile desktop computers and laptops are still the primary source for viewing online content, mobile devices such as tablets and smartphones are gaining ground, according to The NPD Group’s DisplaySearch Connected TV Study: Features, Content, and Usage. The study found that 18 percent of consumers surveyed in 14 regions are accessing online content daily on their TV sets. Twenty-five percent of consumers surveyed said they view online content on their TV several times a week. Movies are the most popular source of entertainment for consumers viewing Internet content on TVs. Previously broadcasted TV programming is also popularly viewed via the Internet. This is one of the ways consumers can catch up on daily programming that they miss at its original time of broadcast, allowing them to view content at their convenience. Among consumers who do not view online content via TV, 44 percent said they have no interest in viewing content on their TVs. About 30 percent indicated they simply do not own the necessary devices. Of these respondents, if given the possibility of viewing online content on their TV, only a third said they would be interested in doing so.
W
Devices Used for Viewing Online Video Content
Source: The NPD Group’s DisplaySearch Connected TV Study: Features, Content, and Usage
TOP U.S. TOY LICENSES 12 M O N T H S E N D I N G A U G U S T 12
TOP FIVE TOY LICENSES FOR GIRLS
TOP FIVE TOY LICENSES FOR BOYS
2. DORA THE EXPLORER
2. CARS: THE MOVIE
1. DISNEY PRINCESS 3. TOY STORY
4. DISNEY FAIRIES
5. SESAME STREET
1. STAR WARS 3. TOY STORY
4. THOMAS AND FRIENDS 5. WWE
“Property owners sometimes have a feeling that their license can appeal to everyone, whereas the data consistently shows that with few exceptions licenses tend to be overwhelmingly preferred by one gender. There is the occasional exception, and the results for the 12 months ending in August show that one license—Toy Story—did make the list of the top five licenses for both genders.” — Anita Frazier, industry analyst, The NPD Group Source: The NPD Group / Retail Tracking Service
RANK TITLE
TOP* FREE GAME APPS IN A PPLE ’ S A PP S TORE
PUBLISHER
1 SHOPPING CART HERO 3
2 DRAGON STORY: NEW DAWN
MONKEYWANTBANANA
3 HOME DESIGN STORY 4 FRAGGER
TEAMLAVA TEAMLAVA MINICLIP
5 SONGPOP FREE
FRESHPLANET
7 GRAVITY GUY
MINICLIP
6 GEMS WITH FRIENDS FREE
ZYNGA
8 THE SIMPSONS: TAPPED OUT 9 ALBERT
10 POCKET MINIONS
ELECTRONIC ARTS FINGERLAB
SIUYIU LIMITED
*as of September 21
Fall 2012
11
Kidz Global
What Iron Man Can Teach About Strengthening Brand Popularity
by Reyne Rice, trend expert and consultant
veryone knows Iron Man by now—that red-hot superhero, portrayed so well by Robert Downey Jr., with his bravado and morphing power suit. I have to admit that I was won over. Apparently kids really like him, too. Across the 30 countries that the Kidz Global BrandTrends report tracks, Iron Man ranked in the top 10 out of 380 brands. In 24 countries Iron Man placed in the top tier of favorites for boys ages 3 to 6 and 7 to 9. That’s pretty good for a superhero that Marvel pulled out of the vault about 10 years ago. Is Iron Man’s dollar revenue red-hot, as well? Let’s take a look at some of the factors that affect Iron Man (and yes, your brand, in comparison). In comparing brand popularity with brand merchandising potential, Iron Man is an example of where your brand could be and what tools can be used to get there. It isn’t rocket science. It’s about applying strategy to your merchandising model and getting more kids to like your brand. BrandTrends tracks the relative awareness, popularity, and merchandise appeal of 380 brands in up to 17 product cat-
E
12
Fall 2012
egories. Kidz Global, a market research company, reports on the top brands for infants, preschoolers, children, and tweens. Recent findings in Canada measuring boys’ brand popularity preferences and their future intent to buy gave Iron Man a Brand Popularity Index (BPI) of 41 and a Future Purchase Intent (FPI) at 40 percent, for boys ages 3 to 6. (That’s not the primary brand target for Iron Man. Numbers skew slightly higher for boys ages 5 to 9.) With its popularity index at 41, Iron Man’s purchase intent number should be 12 points higher, if compared to competitors Transformers and Batman with the same popularity. Let’s take a step back. What is the popularity of a brand? Is it the number of people aware of the brand? Is it how many people love a brand? In fact, it’s a little bit of both. The true popularity of a brand is a delicate mix between the brand’s awareness (spontaneous and aided) and the attitudes toward it (love the brand, rank
the brand within top favorites, want more of the brand, etc.). Is there a relationship between popularity and the future purchase intentions of products associated with it? Absolutely. A few elements explain this. First, going back to the Kidz Global BrandTrends findings, the awareness of the Iron Man brand is slightly lower than Batman and Transformers, at 62 percent awareness for Iron Man versus 77 percent for Batman and 75 percent for Transformers. So the truth is that a smaller proportion of kids could express their wishes to purchase the brand because they are less aware of it. That counts for half of the difference. Second, Iron Man shows a lower purchase intention score in the master category Toys and Games. Solutions to improve merchandise attraction could include impacting in-store operations to recruit new buying households (using in-store promotions, special sales, etc.), as well as enhancing brand appeal through the development of new or improved products or different categories of merchandise. As I write this article in September, inquiries with U.S. retailers have revealed a robust and deeper prod-
uct mix in the toy aisle for Iron Man than seen earlier in the year. The recent launch of The Avengers film has added significant merchandising for all of the Avengers superheros. The fact is, this same scenario plays out across multiple countries where Iron Man merchandise is sold and tracked, as evidenced in the chart below. These same BrandTrends tools can be used to track your own brand, your key competitor’s brand, or to identify new and emerging threats to your brand popularity and to future purchase intentions. Iron Man’s Future Purchase Index and Brand Popularity Index by Country
Fall 2012
13
Kidz Global
Future Purchase Intentions by Product Category
The lessons learned in one country can spur potential gains in other countries, if the marketing plans and merchandising categories for the brand can be approached in similar ways. Your international teams can share best practices and collaborate on ways to build the brand popularity of your properties. If you can raise the needle on the Brand Popularity Index, which measures how much kids like—or love—your brand, then you can improve your future purchase intent with appropriate merchandising techniques. In order to increase your BPI, kids need to be able to relate to your brand’s core characteristics. Kids need to be able to recognize themselves in the core attributes, and then you will be able to grow their loyalty for your brand. In the case of Iron Man, increasing the opportunity for kids to attend in-store or in-theater activities and build an experience with the brand will deepen their affinity for it. Learning from Iron Man is just one way to improve your knowledge of the marketplace. Becoming an iron-clad must-have brand and targeting kids’ authentic needs and desires is another way. Using the Brand Matrix measures and applying the merchandising techniques to improve future purchase intent
14
Fall 2012
puts your brand on a faster track than those brands that aren’t doing such a good job of tracking and measuring their successes. ••••
Philippe Guniaudeau, president and CEO of Kidz Global, has lived and worked on three continents in market research for nearly two decades, and has built a team of research professionals that work with clients across the globe. Some clients are major Fortune 500 toy, game, and consumer packaged goods companies. His team at Kidz Global also works with multiple entertainment studios and small- to mid-tier manufacturers that are growing or have big dreams. The Kidz Global team goal is to make the decision-making process easier, so toy manufacturers and retailers can do what they do best: create and merchandise incredible toy and game products, using research as a tool to guide decision-making and identify untapped opportunities. For more insights, Guinaudeau and his Kidz Global research team can be reached at KidzGlobal.com, or at BrandTrends.com. Reyne Rice is a seasoned industry professional with 30 years of experience in marketing, researching, and analyzing the toy industry and youth marketplace. She advises clients and broadcast and print media on the hottest trends in toys, games, technology, entertainment, and licensing as it affects the youth marketplace.
Look Inside
International Retail Expansion on the Horizon for Eddie Bauer
F
by Sierra McCleary-Harris
or more than 92 years, the Eddie Bauer brand has provided premium, value-oriented products and clothing to a range of customers. With hundreds of stores in North America alone—and more than 50 in Japan—and a thriving catalog business in Germany, Switzerland, and Austria, the brand seeks to further expand internationally. According to John Spotts, senior vice president of international and licensing, the primary expansion focus will be on retail store development. “We’ve had a longstanding business that has done very well internationally, in Japan and Germany. We’re looking to expand into other regions of the world,” including the UK, China, the Middle East, Brazil, South America, and Russia, says Spotts. John Spotts A number of current market trends may be playing into the brand’s ongoing success. According to Spotts, both outdoor and American brands are hot outside of North America, as are brands with a long heritage, such as Eddie Bauer. “All three of those factors, we think, are playing into the acceptance of the brand. It’s value oriented,
Leading the Pack 2012 “Jean-ious” Award, O, The Oprah Magazine 2012 Gear of the Year Award, Outside Magazine Two Best of the Best Awards, Field & Stream Gear of the Year Award, National Geographic Adventure
16
Fall 2012
upper-moderate pricing. It creates a significant volume opportunity, and it’s also a men’s and women’s brand. We’ve got what we think is a strong sweet spot to develop a significant business,” says Spotts. With the help of Spotts—he joined the company in 2010—and a new design team, the company is putting increased focus on its outdoor roots as it works toward international expansion. With its new store format, which features gear product prominently placed in the front of the store, the company is attempting to give the customer a true concept of all that Eddie Bauer has to offer. “Our international strategy is to develop a footprint on the ground through the stores. There are more product lines and more activity-based, performance-oriented clothing that we’re developing. Not just casual wear, but activity-based products, technical fabrications, and designs that perform better outdoors,” says Spotts. That effort hasn’t gone unnoticed. This year alone, the company has received product awards from various outlets. The Women’s Curvy Jean won the 2012 “Jean-ious” Award from O, The Oprah Magazine; the Alchemist 40L Backpack won Outside Magazine’s 2012 Gear of the Year Award; the MicroTherm Featherweight Hunting Jacket and the Stargazer 2 Tent both won Field & Stream’s Best of the Best Award; and the Katabatic Tent won National Geographic Adventure’s Gear of the Year Award. Since 2010, Eddie Bauer has signed 12 domestic product licenses, leading to an estimated 40 percent growth in business for 2012. Recently, the company signed a license with Hudson News to open branded airport stores throughout North America. Looking forward, international licensing deals to operate retail stores in territories within South America, the Middle East, and Asia are in the works and are expected to be finalized by the end of the year. ••••
All the World’s a Stage
G
Licensors take their properties global as the international marketplace becomes a vital source of revenue.
by Melissa Tinklepaugh
lobe-trotting properties are common in the licensing industry today. This year, Monsuno arrived in the U.S. and set course for markets on five more continents. Paul Frank set up shops in China starting last year, and The Little Prince set its sights on North America. With the potential global revenue up for grabs, the world is a stage for licensors. “It’s no longer that the global marketplace is used just as an additional revenue,” says Cathy Malatesta, president of Lawless Entertainment, a Los Angeles-based company that creates, coproduces, distributes, and markets both animated and live-action programming throughout the world. “I think it’s viewed now as a majority of the revenue possible because the U.S. market is very difficult to introduce properties into, and it’s so big.” As licensors seek admission to international markets, attracting retailers and consumers requires retooling their approach for each region. Going abroad introduces licensors to many smaller marketplaces, and thus a larger potential revenue and audience. For each global strategy, licensors need localized plans—tackling language barriers and possibly marketing to different demographics—for each target region. As U.S.-based properties travel the world, international properties are setting foot in the U.S. and encountering one large, regionalized marketplace
Quest for World Domination
Lawless Entertainment serves as the worldwide representative for animation, publishing, licensing, and merchandising for Suzy’s Zoo, a brand of greeting cards established in the U.S. in 1968 by Suzy Spafford. Initially featuring more than 250 named characters, the line has since sold more than 50 million greeting cards and been licensed into other categories and countries. After expanding to include Walmart, Target, and Babies “R” Us in the early 2000s, the brand traveled to Japan through retail chain Plaza Style Stores with products targeting moms and young women. “Funny enough, in Japan, Suzy’s Zoo really appealed to the young women,” with many current SKUs being in women’s apparel categories, says Malatesta. After success in Japan, the brand headed to Europe. Tailoring its approach for each region, Lawless Entertainment secured licensees for baby products, publishing, and plush. Suzy’s Zoo—described by Malatesta as a “timeless, soft, sweet,” brand—appeals to the toddler marketplace in the U.S. and the UK, where the color palette differs from Japan’s SKUs for the brand. “In Japan, for example, they use very bright colors; in the UK, they use muted colors,” says Malatesta. “One has to have their eye on the particular nuances of each particular market-place and their needs.” Saban Brands has been collecting stamps in Paul Frank’s passport since acquiring the property two years ago. Developed in Southern California as an accessories
Fall 2012
“We have a global vision, but we understand localization. We need to be flexible without jeopardizing the brand’s integrity.” -Kirk Bloomgarden
17
line in 1997, the Paul Frank property now has more than 150 licensees worldwide. “The international market’s revenue contributions to licensors has grown for many years. It’s just so important for what we look to achieve,” says Kirk Bloomgarden, senior vice president of international licensing for Saban Brands. “The opening of the Chinese market, and some Eastern European markets, means more growth and more potential. Latin America has become a wealthier region in the last few years. It’s huge potential that you can’t ignore.” With the Paul Frank brand growing in China, Saban Brands signed Shanghai Romma as master apparel licensee last year and tasked them with opening dedicated Paul Frank stores over the next five years, aiming to have a hundred open by the end of next year. Saban Brands is also focusing on Paul Frank’s growth in Brazil, Mexico, and Northern Europe. When Saban Brands expands its global properties, it signs an agent, then lays out a strategy for each territory or region. “Part of expansion is adapting to the needs and demands of individual markets or regions,” says Bloomgarden. “We have a global vision, but we understand localization. We need to be flexible without jeopardizing the brand’s integrity.” Localization can also influence an area’s entertainment trends. Jakks Pacific debuted its first TV series, Monsuno, in the U.S. in February. The licenseeturned-licensor has since launched the boys’ action adventure brand across Europe and plans to expand to more than 40 countries by Q2 of next year. “Boys’ action properties can be challenging in some countries because conflict can be a turn-off,” says Jeremy Padawer, co-creator of Monsuno and executive vice president of marketing and business development for Jakks Pacific. In such cases, producers re-edit the material so that it is appropriate for those countries.
18
Fall 2012
“Rather than bullets, we have blasters or lasers. We change the sounds of certain elements of the show.” Jakks Pacific developed Monsuno to “turn the tables from being a licensing-driven company to also balancing our licensing strategies with the development of our own franchises,” says Padawer. Jakks Pacific developed the property with Dentsu Entertainment USA, FremantleMedia Enterprises, and The Topps Company. “Developing a franchise creates global advantages that are very difficult to obtain as a licensee. Jakks Pacific now has access to greater opportunities because we’ve graduated to that level,” says Padawer. “With a key franchise, all of a sudden you’re doing business all over the world.” Jakks Pacific and its partners developed Monsuno to have worldwide appeal by embracing proven play patterns. “We have a lot of experience with innovative boys’ entertainment brands, and we have a sense for the types of play that will resonate around the world. Collectibles and things that transform, spin, and crash are universal play patterns,” says Padawer. Padawer developed Monsuno after coming across a small, spinning cylindrical toy. “I loved the idea that a child had the power to put his or her finger on it and make it spin. I wondered what would happen if we popped a Transformer-like figure out of it.” He then created Monsuno with co-creator Jared Wolfson. Though Padawer credits a toy concept as the spark for the overall property, Monsuno is an entertainment property, he says. “We respect the creative process, and we understand that the entertainment itself is more important than the product. It has to drive ratings to attract consumers. When a consumer products company overreaches, it can affect the quality of the content.” The choice of platform can also influence a property’s growth. For Jakks Pacific, signing Nickelodeon for Monsuno attracted other TV partners around the world. For Nerd Corps Entertainment, signing the young Disney XD to broadcast its new boys’ adventure series Slugterra, which debuted this fall in the U.S., paced the property’s growth with that of Disney XD.
Slugterra will launch in key territories where Disney XD is growing, says Juli Boylan, head of global consumer products at Nerd Corps. She says, “They have a growth potential way beyond everyone else.” Such growth potential makes global expansion a virtual necessity from the get-go for new properties. UK-based Zodiak Rights launched its new preschool series Tickety Tock in the U.S. in September on Nick Jr. The property initially launched on Nick Jr. in the UK in April and has expanded globally. “The shows are expensive to make, and what we need to do, if we can, is to be able to expand the licensing program beyond the home market. Broadcasters such as Nickelodeon and Disney can give you that kind of reach,” says Jennifer Lawlor, senior vice president of consumer products for Zodiak Rights, the international division of Zodiak Media.
Coming to America
Tickety Tock
Bringing a property to the U.S. can be easier, in some ways, for licensors accustomed to working with Europe’s free-to-air TV broadcasters, retailers, and licensees that generally trade only within the boundaries of their own territory. “In Europe, you look at the UK, France, Germany, Italy, and Spain in isolation from each other,” says Lawlor. “What works in one territory doesn’t necessarily [translate well] to another. You have language barriers and broadcast forms to consider.” In the U.S., however, one set of licensees can cover the whole market. Fewer retailers and broadcasters dominate the market, making relationship-building key
to establishing a property’s presence in the country. While forming its licensing strategy for the U.S., Lawlor and her team met with big box retailers to learn their view of the U.S. toy industry, discussing toy partners, play patterns, and price points, and building relationships with the big players across the single, expansive market. However, Malatesta, of Lawless Entertainment, cites the U.S.’s size and regionalized nature as challenges to developing a nationally appealing property. “The U.S. is so gigantic, and you’ve got so many regionalized activities going on, that unless you’ve got a national strategy, a property may only work in some portion of the U.S. The goal is to get it to work nationally,” she says. “As you travel throughout the U.S., you have different sorts of subcultures. The South generally likes one thing, and the North likes another.” Yet, Lawless Entertainment has taken on the task of licensing The Little Prince property in the U.S., as well as Canada, Japan, and the UK. Written by French author Antoine de Saint-Exupéry and first published in 1943, The Little Prince has sold more than 200 million copies and been translated into more than 250 languages and dialects. New content has been developed for the property, such as a CGI-animated series set to broadcast its third season worldwide and a feature film set for worldwide release in 2014. The Little Prince turns 70 next year, and Lawless Entertainment is betting on the property’s wide, multigenerational appeal and brand awareness to translate in the global marketplace. Already, the property has 40 licensees in France, 20 in Germany, 15 in Brazil, and 30 in Japan and Korea. “I think that anybody who is in the kids’ business at the moment recognizes that they want their property to work in a minimum of 100-plus countries,” says Malatesta. “That’s my strategy. I don’t take on a property unless I think that I can get it into at least 100-plus territories.” ••••
Fall 2012
a scene from Slugterra
“I don’t take on a property unless I think that I can get it into at least 100-plus territories.” -Cathy Malatesta
19
Marketing Memo
T
FLOURISH IN THE FUTURE Tips for succeeding in today’s economic environment
by Jim Sachs, partner at Harris-Sachs, LLC Licensing he past four years in the licensing business have been challenging, to say the least. Economic events both abroad and at home have affected our economy and left everyone—retailers, licensors, and licensees— wondering what the future will bring and how to address it. From a licensing consultant’s perspective, the key to flourishing in this environment requires a macro view of the retail environment, a micro view of licensing as it relates to retail, and its specific applications. So, how do we achieve success? First, knowing the target market and its customer is paramount for any manufacturer and licensor. Understanding what motivates the retailer is indispensable knowledge when it comes to licensed products. There is a finite amount of shelf space out there, and all of us are vying for a piece of it. So, if you’re in the business of selling and buying licenses, and ultimately putting the right products onto the shelves with some assurance of success, what do you do? To start, you need a working knowledge of retail. It is also important to understand marketing and to have a vision when it comes to matching property and product. Finally—and I don’t know if you can learn this—you have to market creatively. I don’t mean coming up with a new widget and applying a license to it. I mean taking a licensed product and reconfiguring it to appeal to new markets and channels of distribution. In this business atmosphere, money is tight and there is little room for failure. The vetting process for licenses has become much more introspective and complicated, so it takes much longer for the manufacturer to make a decision. Once the decision is made, the deal is done, and the goal is clear, you need to get to market and sell something. In the past, the entire marketing and sales effort fell exclusively on the licensee’s shoulders. Now, as a result of the new economy, we are guiding our clients to utilize all available resources their new
20
Fall 2012
licensing partners have to offer. These days, the combined power of both the licensor and licensee is required to drive a successful licensing venture. I always ask a prospective licensor how they will support and work with our clients. Most of the time, they say the company has a general marketing fund into which all licensees pay. Unlike with retailers, who pay for co-op advertising or promotion, there is no proof of performance, and whatever promotional activity takes place supports the licensees collectively. So, the licensor needs to actively help and cooperate with the licensee. Our client, the manufacturer, is the customer. They are buying the rights to an intellectual property and are entrusted with maintaining and growing its core value and integrity. Subsequently, everyone needs to be on board to help the common cause. To affect success, work with your licensing partner to connect with other licensees and develop cross-promotional opportunities. Learn how your fellow licensees market the property and learn from their insights. Ask your licensing partners, as many of them present on behalf of their licensees. Tie into national promotions, public relations, and events the licensor may be running. Ask your licensing partner to make a database of customers available to you so you can send email blasts. There is strength in numbers, and having as many allies as possible is key. This very competitive atmosphere will result in better educated players, more creative thinking, and a necessity for teamwork. How open we are to change and how quickly we can adapt are the decisive factors between moving ahead and getting left behind. ••••
Jim Sachs has 30 years of licensing business experience and served as vice president of sales, marketing, and licensing at Chein Industries. He spent the past 10 years in partnership with Steve Harris at Harris-Sachs, LLC Licensing.
Retailers Are Revving Up for Re-Engagement In their determination to re-engage with consumers on new terms, retailers are leaving legacy approaches behind, testing new waters, and unleashing new tactics, many of which will gain traction during the critical holiday shopping season. by Carol Spieckerman, president, newmarketbuilders n the past few months, retailers have embarked on a dizzying number of organizational changes, business model innovations, and format initiatives. Would they have done so if consumers hadn’t fundamentally changed the way they engage with brands? Probably not, but these new developments have prepared them to connect with digitally-savvy, convenience-craving shoppers who no longer play by the rules.
I
New Characters and Configurations
Carol Spieckerman, president, newmarketbuilders
22
Fall 2012
Retailers are revamping their top ranks and pruning back headcounts in order to speed up innovation, and they are looking outside of their industries to fill leadership positions. New chiefs are bringing fresh thinking and non-traditional perspectives on what it will take to re-engage with consumers who shop across multiple channels. Last November, former Apple executive Ron
Johnson took the helm at the 100-year-old U.S. department store JCPenney and went on to take over merchandising and marketing oversight after president and former Target executive Michael Francis abruptly left the company. In the wake of the departure and hundreds of layoffs at headquarters, he spoke of removing layers in order to make better, faster decisions. Perhaps no other example speaks to the tension between past and future better than Best Buy’s choice of French hospitality and travel executive Hubert Joly to lead the consumer electronics giant. Joly started work this month even as Best Buy’s legacy founder and former chairman, Richard Schultz, continued his bid to take control of the company. In their quest to dial up their digital relevance and engage with shoppers in virtual venues, retailers are also pursuing partnerships and acquisitions, rather than attempting to grow their own solutions in-house. Tesco recently went back on the hunt just two months after acquiring digital music platform We7. Although its latest acquisition of digital bookseller Mobcast is relatively small at about $7.15 million, it should pay big dividends by allowing Tesco to complement its customer insight database with electronics purchase cycle data.
By drawing from non-traditional talent pools and pursuing selective buy-don’t-build opportunities, retailers will accelerate their learning and deployment curves while leveraging best practices from other industries. Instead of playing catch-up with consumers, they will be in a position to define the new rules of engagement.
Business Model Mods
Technology is revolutionizing the way consumers shop and buy, and is acting as the engine that drives retailers’ understanding of those behaviors. Retailers are starting to think of technology as a business enabler, rather than just another controllable expense. Along with that, retailers are exploring operational configurations that defy traditional models. The layers of decision-making that have traditionally characterized merchandising and brandbuilding teams aren’t necessarily well-suited to nurturing technological innovation. Walmart went so far as to create a separate California-based hub called @walmartlabs to accelerate its bleeding-edge social shopping initiatives. Its most recent launch, a search engine called Polaris, demonstrates the difference that a bit of distance and autonomy can make. It’s the latest example of how Walmart is benchmarking against Amazon rather than traditional brick-and-mortar competitors. Polaris, which uses semantic search technology to arrive at the intent of shoppers’ searches, was built from the ground up by 15 @walmartlabs team members within 10 months. The company claims to have already realized an up to 15 percent increase in transaction conversions since launching the engine.
Walmart has broken new ground by circumventing traditional decision-making structures and carving out a separate innovation incubator. Regardless of whether or not other retailers follow its example, the speed at which Walmart develops and deploys weapons of mass engagement will raise the bar for the industry. At a time when price transparency, enabled by mobile apps and online research, is an everyday reality, retailers such as Lowe’s, Tesco, JCPenney, Carrefour, and Walmart have wisely doubled down on clarifying their price-value propositions to consumers. These days, maintaining price integrity is critical for upholding reputations. However, as important as price has always been in retail, convenience is emerging as a mitigating factor as time-pressed consumers place a high priority on instant gratification and multi-channel shopping efficiency.
Commuter Convenience
Tesco’s first foray into virtual commuter commerce debuted last year in South Korea, and the success of the launch emboldened the retailer to push into new territory. Tesco launched its first virtual supermarket test at Gatwick airport last month, just in time for the holiday shopping season. Antsy travelers are able to place orders by scanning items on their smartphones via 10 screens that have been set up in the airport’s departure lounge. By leveraging the virtual shopping solution, travelers can take off for their destinations assured that delivery will be made upon their return. Tesco upped the engagement factor by customizing its approaches based on how each consumer base prefers to shop. While the Korean commuter posters used the QR codes that are in wide circulation in that country, the Gatwick touch screens feature UK-friendly bar
Fall 2012
23
“C o n ve n ie n c e i s e me rg i ng a s a m i t ig at i ng f ac t o r a s t i me -p re s s e d c o n s ume rs p l ac e a h igh p r i o r i t y o n i n s t a n t g rat i f ic at i o n a n d mul t i-ch anne l sh oppi ng e f f ic ie ncy.”
codes. Swiss retailer Migros has also jumped on the commuter-shopper bandwagon by opening a handful of small format Migros-Express stores near railway stations. The stores’ assortments focus on takeaway items and feature self-scan checkout capabilities.
Seamless Scale
Not long ago, retailers like Tesco ran their online and offline operations in silos. In many cases, they actually competed against themselves in different channels. These days, retailers see all channels—including mobile—as synergistic and seamless touch points. Retailers’ new criteria for scale are no longer thousands of stores, but they aren’t millions of online impressions or mobile transactions either. They are all of these combined. Retailers have evolved their strategies in order to leverage their physical footprints to drive omnichannel sales. By year’s end, Tesco expects to have expanded its click-and-collect capabilities to 150 stores, making it only the second retailer to implement such a service in the UK. While Walmart’s U.S. site-to-store program is highly-developed, its UK-based Asda division is currently in its trial stages with the capability. Tesco’s click-and-collect program ensures that shoppers’ groceries are picked, packed, and stored at a drive-through point where a staff member will load the groceries into the trunk for a fee of only £2. As appealing as doorstep delivery will be for many convenience-seeking shoppers, store pick-up models are more profitable for retailers since delivery fleets are not required. As brick-and-mortar retailers expand their convenience offerings, they will provide more flexibility to their customers and offset the impact to their bottom lines in ways that
24
Fall 2012
pure-play e-commerce rivals cannot. Over the past three years, despite its comparatively diminutive footprint, UK-based supermarket chain Waitrose has managed to grow its market share faster than any of its Big Four rivals—Tesco, Asda, J Sainsbury, and Wm Morrison. Like Tesco, Waitrose offers delivery services, but it has recently taken things a step further by opening what it calls “dark stores,” which serve online orders exclusively. According to Waitrose’s managing director Mark Price, its online shoppers spend almost five times more than those who shop in the stores, making the orders profitable even when taking free delivery into account. The stores are also an efficient scalebuilder for Waitrose as it competes against multiformat retailers with much larger physical footprints. The retail media has covered the smallformat movement in retail extensively, but the next wave of format innovation will go beyond size, making shopping convenient regardless of how shoppers engage. As retailers rev up their organizations and operations for a very digital holiday, they are setting the stage to re-engage with consumers wherever they are and however they prefer to shop in the future. The barriers to next-stage innovation have been lifted and retail will never be the same. •••• Carol Spieckerman, president of newmarketbuilders, is a retail speaker, writer, and strategist. Spieckerman ties together emerging developments that are shaping the future of retail across retail tiers, categories, business models, and borders. Additional retail and brand insights may be found on her blog at www.nmbblog.com and on Twitter at @retailxpert.
Property Profile
Vivid Toy Group Will Be Walking with Dinosaurs
B
by Sierra McCleary-Harris BC Worldwide has chosen Vivid Toy Group to be the worldwide master toy and games licensee for the December 2013 release of Walking with Dinosaurs 3D, a new feature film version of the existing multimedia franchise from BBC Worldwide, Reliance Entertainment, and Evergreen Films, to be distributed by 20th Century Fox. Walking with Dinosaurs 3D is a story of dino families born and torn apart. Not only will it show dinosaurs as they grow up, but it will also feature rivalry and competition. Drawing on recent paleontological discoveries, the film features compelling dinosaur characters, shown against photo-real 3D backgrounds. The film will be distributed by 20th Century Fox in the U.S. and the majority of international territories. According to Carla Peyton, senior vice president of licensed consumer products at BBC, Vivid will introduce a full line of collectible toys, games, and puzzles to coincide with the film’s release next year. But that isn’t all that’s in store for the Walking with Dinosaurs brand. “In addition to the past documentary, the current live event, and the upcoming movie, the franchise will continue to grow with a TV show, museum exhibitions, and more,” says Peyton. “Walking with Dinosaurs has been and continues to be an incredible brand for BBC Worldwide, and Vivid is a perfect partner for the franchise, as we build up to the feature film release with Fox.” In 1999, the original Walking with Dinosaurs TV series became a global hit, using state-of-the-art CGI animation to bring to life a prehistoric world for more than 700 million viewers in more than 130 countries, making it the most viewed documentary in cable history at that time. It also spawned an extensive ancillary program spanning home video, book publishing,
licensed consumer products, sales promotions, and live events. Walking with Dinosaurs‒The Arena Spectacular, which launched in 2007, has generated more than $250 million in box office revenue across 144 cities during its four-year run, and more than 6.5 million tickets have been sold. The live show is set to return to the U.S. in 2014. Walking with Dinosaurs 3D is the next step for the brand, and will be a global theatrical release. The film will feature the 3D expertise of the Cameron Pace Group, masterminds behind Pirates of the Caribbean: On Stranger Tides and Avatar.
“Walking with Dinosaurs 3D offers a fantastic opportunity to push our advances in 3D even further. We’re inspired by the creative ambition behind the film and the opportunity to work on a feature that aims to bring audiences a real, visceral experience,” says James Cameron, co-chairman of the Cameron Pace Group. BBC Worldwide is currently seeking licensees for apparel, including T-shirts and sleepwear; HBA/toiletries; and bedding. ••••
Fall 2012
25
Brand Licensing Europe
PROPERTY SHOWCASE
N e r d C o r p s E n t e r t a i nm e nt R ol l s O u t N e w O r i gi na l P r o p e r t y
Nerd Corps Entertainment’s newest global kids property, Slugterra, is set to roll out this fall with the launch of the animated television series. Disney XD is the global television partner for the show, which premiered in Canada on September 8, and will hit U.S. airwaves on October 15. The series, which targets boys ages 6 to 11, is the kick-start to a full property rollout from Nerd Corps, which includes an online flash adventure game and iPhone and iPad apps based on the series. A toy line from Jakks Pacific will hit shelves early next spring, and several key licensees are in place for consumer product launches next year. Following the North American series premieres, Disney will launch the show around the world through next year. Additionally, full episodes will be showcased at the upcoming MIPJunior in Cannes, France. Nerd Corps is continuing to secure agents in key territories, as well as terrestrial broadcast.
e O n e t o S ho w Pr e s ch o o l P roper tie s
Entertainment One Family (eOne Family) will be showcasing its portfolio of popular children’s properties at Brand Licensing Europe. Headlining the slate is preschool favorite Peppa Pig. A range of Peppa Pig merchandise will release in the U.S., Australia, Spain, Italy, and Greece this year, with the licensor eager to increase the brand’s footprint internationally. Ben and Holly’s Little Kingdom continues to cast its spell on preschool audiences. Buoyed by new episodes airing in the UK this year, the brand will launch its first live stage show and app in addition to a high-profile charity partnership with Jeans for Genes Day. eOne will also present licensing opportunities for new property Justin and the Knights Peppa Pig of Valour based on an original animated feature scheduled for cinema release next August. Rounding out eOne’s line up is Humf, which debuted at retail in the UK this year.
Slugterra
Justin and the Knights of Valor
26
Fall 2012
Brand Licensing Europe
PROPERTY SHOWCASE
Fre man tleMe dia Doubles as I nt e r na t io n a l Bra nd O w ne r a nd L ic e n si ng A g e n t
FremantleMedia Enterprises (FME) is a licensor of entertainment, factual, drama, children’s, teen, and tween brands. Working both as a brand owner and licensing agent, the company builds brands and extends them into new experiences through licensing programs with individually tailored strategies and partnerships across all consumer touch points. FME represents Tree Fu Tom, Wizards vs Aliens, Monsuno, Danger Mouse and Rainbow, Rebecca Bonbon, The X Factor, Got Talent, Celebrity Juice, Take Me Out, Farmer Wants a Wife, and Grand Designs.
C l a ss ic Me d ia W il l P re s e n t C l a ss ic s a nd R e in v e n te d B ra n d s
The Where’s Wally? brand celebrates its 25th anniversary this year. In honor of the milestone, Classic Media is launching 25 Ways to Show Your Stripes, a global celebration featuring new products and partnerships with industry leaders across fashion, music, and sports. The Postman Pat brand is gearing up for 2013 with its first theatrical film and new TV series. With 35 licensees, a new live tour rolling out across the UK, and a lot of retail action, Postman Pat continues to grow. Mr. Peabody & Sherman is coming to life on the big screen next year with a film from DreamWorks Animation. Additionally, Classic Media will highlight the recently acquired Noddy, a top-5 brand in France (where he is known as OuiOui). Casper, the world’s friendliest ghost, is set to launch fashion apparel across Europe and the U.S.; and boys’ action brand Masters of the Universe celebrates its 30th anniversary this fall. Noddy
WB C P’s New L in eup
Warner Bros. Consumer Products (WBCP) offers an array of entertainment products that will provide opportunities for licensees and retailers around the globe. The company has already partnered with Vivid Group, Lego, HarperCollins, Eaglemoss, Ravensburger, and Rubie’s Costume Co., among other global licensees, to support The Hobbit trilogy. The Hobbit: An Unexpected Journey hits theaters this December, and Man of Steel hits theaters in June. WBCP will introduce licensing opportunities for its new animated series including Young Justice, Invasion; new CGI-animated series Beware the Batman; and comedyaction series Teen Titans GO! The company will also feature evergreen properties Scooby-Doo, Looney Tunes, and Tom and Jerry.
28
Fall 2012
The Hobbit: An Unexpected Journey
A l l s or t s’ C l a s si cs S hi ne
Top brands for Allsorts Licensing include classics such as Baby Boop, Betty Boop, Felix the Cat, Flash Gordon, Olive Oyl, Baby Popeye, and Popeye. Betty Boop stars in Hypnôse Star, a worldwide advertising campaign for the Lancôme brand, launched in the UK in Selfridges. Betty and all of Allsorts’ classic brands have continued to perform in the apparel and accessory markets. The Miss Dolly book range is set to expand in the coming months, and Yogadogz is attracting attention in Australia, New Zealand, and Russia. The Yogadogz back-to-school range is available now, with calendars for next year set to launch. Hagar the Horrible is attracting interest in the men’s apparel and giftware sectors as well.
B e a n s t a l k Si gn s D e a l s wi t h TV Ma n ia Eu ro p e , Fi p o tex
Beanstalk has negotiated a licensing agreement between European children’s wear company TV Mania Europe GMBH and entertainment franchise and digital app phenomenon Talking Friends. TV Mania will launch a line of children’s wear across France, Benelux, Germany, Austria, Switzerland, Italy, and Spain next year. TV Mania joins Funky Pigeon as one of the latest licensees to join the Talking Friends global licensing program spanning across North America, Europe, and Asia. Funky Pigeon will develop a range of fully customizable greeting cards and gifting products for the UK, which allow consumers to share their favorite Talking Friends characters. Burolink also recently joined the program and will develop a range of stationery for the Russian market. Beanstalk has added textile manufacturer and distributor Fipotex to the licensee roster for MovieStarPlanet. With more than 50 million users, MovieStarPlanet provides tweens with a fun, secure place where they can participate in a virtual world with their own personalized avatar. Users can shop, dress up, play games, and communicate with friends. As licensee for MovieStarPlanet, Fipotex will develop and launch a range of boys’ and girls’ apparel across Denmark, Finland, Sweden, and Norway. Inspired by the website’s unique design DNA and creative environment, Fipotex’s products will allow users to continue to express the creativity they develop in the virtual world of MovieStarPlanet in the physical world.
M o nd o T V S . p .A . H a s Bea s tk eep er
4Kids Entertainment is now representing Beastkeeper, a new 2D animated action-adventure series co-produced by Starbright, Mondo TV, Ponpoko Productions, and Kappa Edizione. The series is set to launch next year. Beastkeeper is geared toward 6to 10-year-old boys, highlighting the importance of teamwork and courage with action and adventure. The show will focus on Keep, a boy of unknown origin with no memory of his past. Keep is in a position of power, as he possesses an ancient and magic artifact called Spin Shell. The Spin Shell allows Keep to control and obtain the power of the Beasts, legendary creatures hidden in every corner of the world. A multi-territory deal with Turner Broadcasting for the rights to its new animated TV series, Gormiti, in more than 130 countries across Europe, the Middle East, and Africa (EMEA), has also been made. The show is co-produced by Mondo TV and Giochi Preziosi. Turner Broadcasting has secured licensing and merchandising rights for the series in EMEA (excluding Italy, San Marino, Vatican City, and France), while Mondo TV Consumer Products will act as the sub-agent in Russia, Eastern Europe, Ex-Yugoslavia, Greece, Spain, and Portugal. Aimed at boys ages 6 to 11, the series will debut on Turner Broadcasting’s kids network Boing in Spain and Italy this year. Gormiti will have a full EMEA broadcast next year, launching on Cartoon Network in all remaining territories. Gormiti tells the story of the return of Prince Agrom from the volcano kingdom and his search for pieces of the Stone of Gorm, which will enable him to regain his evil powers and strike against the Lords of Nature and their peaceful kingdoms: Earth, Air, Sea, and Forest.
Fall 2012
29
Brand Licensing Europe
PROPERTY SHOWCASE
El v i s P re s l e y L ic e n si ng B re a k s In t o S o ci a l M e d i a
Demand for Elvis Presley-themed products is rising due to the use of social networks and special events around the world. With the “I am an Elvis Fan” promotion, fans uploaded their photos to be included in a photo mosaic of the King made up of fans’ faces. The photo is now available for purchase. Fans also had the opportunity to vote for their favorite Elvis songs to be included on a new CD released in July. A 15-city European tour of Elvis Presley in Concert featured former Elvis band members performing live on stage with an on-screen projection of Elvis. Japan, Canada, the UK, and Australia hosted the licensed preliminaries for the Ultimate Tribute Artist Contest, and Sao Paulo, Brazil will showcase the largest exhibit of artifacts ever displayed outside of Graceland. Celebrity-Entertainment, EPE’s agent in Europe, recently signed a deal with Sanrio that will co-brand Hello Kitty with the King of Rock ’n Roll. Hello Kitty will be outfitted in Elvis’ signature sunglasses and classic jumpsuit. Other new products from Europe include an Elvis-inspired 4-D movie developed for attraction and ride films, an Elvis Triumph motorcycle, and a line of Elvis-inspired apparel from Benetton. Other Elvis products include Graphic Elvis, a licensed book by Liquid Comics that combines writings, photos, quotes, and memorabilia of the King; an Elvis Kingman acoustic guitar from Fender Acoustics; and Elvis figurines, ornaments, and water balls from Precious Moments. Mattel Elite has created a Ferrari Dino, the car owned by Elvis Presley; and Tommy Hilfiger released a limited-edition T-shirt collection for men and women this summer.
30
Fall 2012
H ari ’s Wor ld Plays I t S afe
Hari’s World combines fun and excitement with subtle safety messages. A Hari’s World book series is now available, featuring adventure stories about playing safe. The publishing program is set to feature 10 books in total and most recently launched the title Hari at the Park. Both the books and a plush range are currently available in retail outlets across the UK, including gift shops, garden centers, zoos, and animal attractions. After its UK success, Hari’s World is undergoing global expansion and the brand is now being distributed across Singapore and Malaysia, with publishing licenses and distribution agreements lined up for neighboring regions.
E d e b é A d d s Mo ns te r J a m a n d Gor jus s
Edebé Licensing, an agency for young people and adult properties in Spain and Portugal, represents art properties such as Catalina Estrada and Charuca, characters including Holly Hobbie and Calimero, and brands including Dakar and Tour de France. Edebé will be showcasing its most recognizable brands, as well as the new additions to the Spain and Portugal catalogue, including renowned monster truck competition Monster Jam from Feld Entertainment and Gorjuss from Santoro London.
Brand Licensing Europe
PROPERTY SHOWCASE
Th e A ird Gr oup ’s Kim midoll Ex p a n d s In t e r n a t i o na l l y
Created by The Aird Group, kimmidoll merchandise was first introduced in Australia, Europe, and parts of Asia in 2008, with kimmidoll junior merchandise following directly behind it in late 2009. Each sub-brand within the family of the kimmidoll franchise targets a different age group: the kimmidoll collection for adult women, kimmidoll junior for 4- to 10-year-old girls, and kimmidoll love for tweens. Gift merchandise that coordinates with the resin dolls is created by The Aird Group and a range of core, coordinating kimmidoll products is distributed by a network love of distributors. Coordinating gift items include resin key chains, journals, notebooks, pens, charms, iPhone covers, jewelry, and luggage tags. In addition to these items, licensing agreements have been signed in several territories, expanding the brand into categories such as apparel, sleepwear, bedding, handbags, fragrance, and footwear. As part of its global expansion plans over the past eight months, The Aird Group has signed on several new licensing agents worldwide, bringing kimmidoll the current total to 15. In addition to the core resin dolls and other gift merchandise, licensed products include sleepwear sold exclusively at Oysho Espana stores in Spain, journals and stationery from Miguelruis, and bags and stationery from Blueprint. Some key licensed kimmidoll junior products that have been introduced in various territories outside of North America include puzzles from Ravensburger and a collection of kimmidoll junior fragrances from Koto Parfums. In the U.S., Canada, and Australia, Penguin Publishing Group will publish a series of books that will launch in June. The books will introduce girls to the fun and colorful world of kimmitown and will focus on several kimmidoll junior characters and their best friends. kimmidoll junior
32
Fall 2012
L udorum on Tr ac k wi th C hu g g i ng to n S e rie s a n d P l a y Se ts
Ludorum expands its preschool franchise, Chuggington, with a new track system from Tomy and a new TV series. Tomy’s Stack Track system for Chuggington die-cast is set to launch in the U.S. this fall and in the UK and Europe throughout spring and summer of next year. The new track system features collectible engines, track packs, and play sets, and enables kids to stack their track as high as they want. Kids can build spiraling track layouts, combining classic train play with action-packed adventure. Every play set in the Chuggington Die-Cast Railway can be built in multiple ways. Alongside the new Tomy train sets, a new series of Chuggington is in production. The enhanced season consists of 26 x 10-minute episodes and 7 x 4-minute music interstitials. Now airing in more than 178 countries in 27 languages, the series is set to launch in India, China, and Latin America throughout this year and next. Ludorum’s marketing plan for next year will focus on a “rescue” theme and will be driven by media, national consumer and retail events, and will be promoted via PR initiatives, social educational outreach, and trade and consumer activity. Ludorum has now secured agreements with 250 Chuggington licenses internationally including Tomy, Mega Brands, Ravensburger, Crayola, Trudeau, and VTech.
Sony Seeks Partners for Sequels and New Movies Sony Pictures Entertainment (SPE) is seeking promotional partners, licensees, and retail partners for upcoming films including After Earth, The Smurfs 2, The Mortal Instruments: City of Bones, Cloudy 2: Revenge of the Leftovers, and Ghostbusters. In The Smurfs 2 3D, the evil wizard Gargamel creates a group of mischievous Smurf-like creatures, called the Naughties, to harness the all-powerful, magical Smurf-essence. But when he discovers that only a true blue Smurf can give him what he wants—and only a secret spell that Smurfette knows can turn the Naughties into real Smurfs—Gargamel kidnaps Smurfette and imprisons her in Paris. It’s up to Papa and the Smurfs to return to the real world and reunite with Patrick and Grace Winslow, before Gargamel can learn the secret and rule the world. Releasing in the U.S. on July 31, and internationally in August and September, worldwide promotions and North American licensing opportunities are available for the film. Cloudy 2: Revenge of the Leftovers 3D, the Sony Pictures Animation sequel to the 2009 Cloudy with a Chance of Meatballs, is directed by Kris Pearn and Cody Cameron, and produced by Kirk Bodyfelt. In the wake of the disastrous food storm at the end of the first movie, Flint Lockwood and his friends are forced to leave their town of Swallow Falls. But when it is discovered that sentient food beasts have overrun the island, they are asked to return to save the world yet again. For this PG-rated flick due out in February 2014, SPE is in search of worldwide promotions and licensing partners. Based on the novel by Cassandra Clare, The Mortal Instruments: City of Bones is the first film in the Mortal Instruments series. Clary, a seemingly ordinary teenager, discovers she is the descendant of a line of Shadowhunters, a secret cadre of young half-angel warriors locked in an ancient battle to protect the Earth from demons. After the disappearance of her mother, Clary must join forces with a group of Shadowhunters who introduce her to a dangerous alternate New York, filled with demons, warlocks, vampires, and werewolves, called Downworld. SPE is looking for worldwide licensing partners for the live-action film. The live-action film After Earth is set to premiere in June. One thousand years after cataclysmic events forced humanity’s flight from earth, Nova Prime has become mankind’s new home. Legendary soldier Cypher Raige returns to his estranged family, ready to be a father to his 13-year-old son, Kitai. While traveling to a nearby planet, an asteroid storm damages Cypher and Kitai’s ship, and they crash-land on an inhospitable earth. As his father lies dying in the cockpit, Kitai must trek across the hostile terrain in order to recover their rescue beacon. Worldwide promotions and licensing opportunities are available for the film. SPE also seeks to expand a licensing program targeting the Ghostbusters core fan base. The program continues to add partners to the brand, based on the 1984 movie, Ghostbusters.
Fall 2012
33
Brand Licensing Europe
Bu l l d o g L ic e n si ng S ho w s R o ob a r b , Cu s t a r d , a n d Mr. Bloom
PROPERTY SHOWCASE
Bulldog Licensing offers Mr. Bloom’s Nursery, a BBC kids show that is set in a colorful and fertile allotment run by the green-fingered Mr. Bloom. The show combines live-action with puppetry and introduces children to horticulture. Mr Bloom’s Nursery: Get Set, Grow! has also been commissioned. Licensees are working to develop a program with Bulldog for the brand. Roobarb and Custard, based on the stars of the British cartoon series Roobarb and Roobarb and Custard Too, have attracted licensees such as Fatspanner for pub entertainment machines; Diablo Skinz for mobile phone, tablet, and laptop skins; Brazier for plush; Mogzilla for publishing; Poetic Gem for apparel; Museums and Galleries for greetings; PMS for amusement plush; Riviera for canvas wall art; and Fred and Ginger for a pet accessories range. An agreement with Daredevil Developments, Ltd., for Roobarb and Custard apps will feature the pair in a platform-style game on mobile phones.
Mr. Bloom’s Nursery
34
Fall 2012
N V CP F e a t ur e s Pr o p e r t i e s f or Youth and Teen s
Nickelodeon and Viacom Consumer Products (NVCP) is set to release new animation properties as licensing programs kick-off for Teenage Mutant Ninja Turtles; Winx Club in the UK, Canada, Australia, Mexico, and Brazil; and Bubble Guppies. The new, CG-animated Teenage Mutant Ninja Turtles will premiere this fall. Supported across all Viacom International Media Networks platforms, Nickelodeon is committed to creating episodes until the end of 2015, with a movie planned to premiere in May 2014 from Paramount Pictures. For the Nickelodeon and Rainbow co-production Winx Club, a variety of dolls, role-play, dress-up, and soft goods are already on the Winx Club market, with more set to launch this fall. The dress-up clothes, from CDI first four seasons are already airing in Canada, the UK, Australia, and Brazil, and will premiere in Mexico next year. Underwater classroom series Bubble Guppies will have its first consumer products launch next fall with a range of toys from global master toy licensee Fisher-Price. New to NVCP is the MTV Classic program. Focusing on the creativity of the on-air animations of the 1980s, 1990s, and 2000s, the program brings past decades to life using traditional design methods, including 3-D modelling, felt tip pen, and collage. Focused on fashion with key international retailers, the product base is now extending into stationery, BTS, gifts, and novelties.
Brand Licensing Europe
PROPERTY SHOWCASE D H X M e d ia S ho w c a s e s R a st a m o u se a nd Mo r e
CP LG to Sh ow Top Ki ds’ P roper ti es
Activisions’ Skylanders: Spyro’s Adventure has transcended the digital space to become a new kids’ property. In addition to products hitting the market, the eagerly anticipated game extension, Skylanders: Giants, is set to further boost interest in the brand when it launches at the end of the year. The WWE property, featuring wrestlers including Triple H, John Cena, Randy Orton, and The Miz, has more than 160 partners are on board worldwide. WWE is rated as the No. 2 boys’ action property, and the No. 5 largest property in the toy industry. Toys from master toy partner Mattel include FlexForce action figures, toy wrestling rings, and championship belts. Publishing partners include Simon and Schuster, Pedigree, DC Thomson, and Dorling Kindersley. Series two of Power Rangers Super Samurai hit UK screens on Nickelodeon this summer. The Bandai master toy line was released last year and a new Super Samurai range launched in July. Publishing by Parragon Books has rolled out this year with a range that includes annuals, activity books, novelty titles, 3D storybooks, and treasuries. More than 25 other licensees are on board in the UK alone, covering categories including apparel, bedding, gifts, games, greetings, and FMCG. Founded in 1969, Sesame Street is one of the world’s leading educational brands and is the most widely viewed children’s series. Spin-off shows including Elmo’s World, The Adventures of Bert and Ernie, and Abby’s Flying Fairy School, add to the recognition surrounding this classic brand. A UK licensing program is in place for the brand, which includes Hasbro as the master toy partner as well as other licensees, such as Brecrest with babywear, Cooneen with nightwear and underwear, and Half Moon Bay with gifting.
36
Fall 2012
The second season of stop-frame animated series Rastamouse has launched on CBeebies in the UK. The series features Rastamouse, Scratchy, and Zoomer of Da Easy Crew, the mystery-solving, reggae-playing band. Product rollout this year includes books, DVDs, toys, music, magazines, posters, stickers, balloons, and apparel with live appearances and other brand initiatives. Animal Mechanicals is an action-adventure series for preschoolers combining fantastical worlds, transforming mythical animals, and cool quests. In recent deals, TVE has come on board as broadcast partner for Animal Mechanicals in Spain, with DHX Media appointing Enjoy S.L as licensing agent for Spain and Portugal. Monster Math Squad stars loveable monsters that help children develop formative math-related skills. UMIGO is a transmedia music property that features animated videos and consumer products with interactive digital components that teach kids ages 2 to 8 years old how to invent, build, and create through collaborative, interactive play. The upcoming Battle Bears, based on the ISO game of the same name, is an animated action comedy. While traveling to the furthest reaches of the galaxy in search of work-for-hire, an advanced crew of “Robotic Teddy Bear Mercenaries” faces off against bear enemies of every imaginable kind.
Rastamouse
Ghouls Rule at Mattel
Mattel’s Monster High doll property has undergone the launch of new licensing partnerships, expanding the brand’s presence throughout the retail sector with clothing, beauty, home furnishings, consumer electronics, stationery, creative play product ranges, and sporting goods. Publishing also continues to be a major category for the brand with the Monster High magazine, All About Monster High, available every three weeks in 22 countries, including the UK. A new title, Back and Deader Than Ever, the fourth in the Monster High book series, was also released this year. Monster High: Ghouls Rule!, the first direct-to-DVD CG-animated full-length film to be released under Mattel’s new partnership with Universal, will center around Hallo-ween. Monster High will also partner with a major TV channel to broad-cast for the first time in the UK.
Space Enterprises Has the Hive
Space Enterprises’ The Hive is an animation series produced by Monumental Productions, Lupus Films, and DQ Entertainment. The show follows the fortunes of a happy, friendly bee family, who live together in Honeybee Hive. The show has been picked up by ITV in the UK and ABC in Australia. The Walt Disney Company EMEA also broadcasts the show in more than 150 countries. Avanquest recently launched interactive games for iPad and iPhone, master toy partner Mookie Toys has released plush, and LeapFrog features The Hive content on its LeapPad children’s learning tablet and the Leapster game console. Other partners include EMI Publishing, Moon-pig, Blues Clothing, Jupiter Toys, and Aykroyds TDP.
Fall 2012
37
Brand Licensing Europe
PROPERTY SHOWCASE
Ame ric a n G re e t in g s L o o ks to Ex p a n d Br a nd s
American Greetings Properties is looking to expand its brands in Europe in categories including apparel, accessories, home goods, and publishing. This year marks the 30th anniversary of Care Bears, the colorful bears with belly badges. The Care Bears are determined to help children understand feelings and emotions through love, music, and hugs. Strawberry Shortcake and her friends live in Berry Bitty City, a tiny world underneath the leaves of a berry patch. There, she and her friends run little shops and go on fantasy adventures that emphasize friendship, teamwork, and fun. Holly Hobbie & Friends is a contemporary evolution of the classic icon, launched in 2006 through animated specials. The Holly Hobbie & Friends series follows Holly, Amy, and Carrie as they spend summers together in the cozy town of Clover and experience all of the key milestones of 10-year-old girls.
E g m o nt B r i ng s C om i c s t o Mobi le Devic es
Egmont has an archive of classic comics material—Roy of the Rovers, Battle, Misty, Whizzer and Chips, and Tammy—and recently launched a classic comics imprint. The company will continue distribution on a broad range of iBooks and ecomics, which kicked off in June with four iBook volumes of Roy of the Rovers, available on Apple and Kobo devices. Aside from breaking onto the tablet and smartphone scene, Egmont continues with published collected volumes of Roy of the Rovers and selected Battle strips including Charley’s War, Major Eazy, and Johnny Red by publishing partner Titan Books. The first of many merchandising deals kicks off with a range of gifting products to be sold exclusively in Marks & Spencer. Egmont will also explore licensing opportunities and talk to partners through its licensing agent Brands with Influence for the company’s other comics brands.
G ra n i& P a r tn e rs Na m e d Su p p l i e r f o r S m u r f s
Grani&Partners has been named the Premium Worldwide Preferred Supplier by licensor IMPS for its Smurfs license. The company offers an extensive range of exclusive Smurfs products, including various 3-D figurines, tin boxes, and accessories. In addition to Grani&Partners’ Smurfs success, the company has received positive feedback for the new catalogue of Hello Kitty promotional products, another license for which Grani&Partners has held the title of Preferred Premium Supplier for several years. In the coming months, Grani&Partners will also focus on other licensed brands, including SpongeBob Squarepants, Teenage Mutant Ninja Turtles, Gormiti, and Dino Froz. The company is consolidating its relationships with old customers, while establishing new relationships with various Italian and foreign companies. A new sales director has recently joined the staff of the overseas department and will be dedicated to the American (U.S. and Latin America) and Far East markets.
38
Fall 2012
Brand Licensing Europe
PROPERTY SHOWCASE
P G S E n t e r t a i nm e nt In t r o d uc e s T h e J u ng l e B u n ch , Ex p a nd s S uzy’s Zoo
PGS Entertainment’s The Jungle Bunch is a one-hour, CGIanimated, made-for-TV movie. A 52 x 11-minute series will be delivered next fall. Created by Tat Productions, Vanilla Seed, and Master Films, The Jungle Bunch has more than 1 million viewers and is now broadcast in more than 20 territories. Current licensing partners include Universal Home Entertainment for DVD and DTO across Europe and the U.S. and Gallimard Editions GJ for publishing. The Suzy’s Zoo brand has grown to feature more than 200 named characters on a wide range of social expression products. PGS is looking to secure licensing agents in France, the UK, Germany, Italy, Spain, Australia, and Canada. Deals include craft items from Joanna Sheen, Ltd.; nursery bedding and accessories from Suncrest; books from Blue Sky and Dalmatian Press; board, card, travel, and electronic board games, Colorforms, and jigsaw puzzles from University Games; greeting cards and calendars from Flickback Media; rugs from Fun Rugs; and personalized stickers from StickerYou. Wize & Ope was created by fashion designers Victor Louzon and Benjamin Bettane in 2010. Last year, Louzon and Bettane partnered with Quo Vadis to create back-to-school items. Accessories, collectibles, apparel, personal finance, stationery, and sport and street style products are all available. PGS is now looking for partners to expand the brand.
40
Fall 2012
Z odia k Goes Ti ck ety Tock
Zodiak Rights’ returning properties Mister Maker, Little Princess, Waybuloo, and Simon’s Cat will be featured alongside Tickety Toc, a preschool series with a raft of newly signed partners. The series launched at the Licensing Show in Las Vegas this summer, with Vivid Imaginations set as master toy licensee in the UK and several international territories. Already a success in the UK on Nick Jr., the series will air on Milkshake! later this year and is set to premier this fall in the U.S., Benelux, and Germany on Nick and in France on France 5 and Nick Jr. Mister Maker is an interactive arts and crafts show for young children. With the aid of oversized props, a combination of liveaction graphics, and unique techniques, Mister Maker transforms everyday objects into art. Ongoing development across the property includes arts and crafts, dress-up, and a fall DVD release from new Abbey Home Media Brand. A website for Mister Maker is also set to launch in the fall. Little Princess continues to air on Milkshake!, while the consumer products program continues to build across toy, publishing, DVD, and apparel lines. Waybuloo, an exclusive baby essentials line, is set to launch at George next January with in-store marketing support. Simon’s Cat conjured a large audience with more than 1 million subscribers to the Simon’s Cat YouTube channel and video views now exceeding 270 million. It has more than 683,000 Facebook fans, with more than 66,000 Twitter followers. Tickety Tock
Rocket Licensing Premieres New Deals with Old Favorites
With more than 1 billion views on YouTube, Annoying Orange is the world’s most watched web series. Rocket Licensing is developing a licensing campaign for the UK and Ireland aimed at children and adults ages 8 to 24. The campaign spans across a wide range of merchandise, including toys and gifts, apparel, amusement plush, backpacks, headwear, house-wares, apps, games, and novelty gifting and accessories. Releasing next August, the new MGM version of the classic 1987 film Robocop takes the wit and action of the original movie and adds 21st century technology, along with actors Gary Oldman and Samuel L. Jackson. Rocket will preview its plans for the upcoming film, and its ongoing campaign for the original version. Emma Thomson’s new creation Princess Pearl has entered a new phase with the launch of five new books and the arrival of a girls’ nightwear range in Marks & Spencer. Since the debut of Princess Pearl Woodmansterne greeting cards, note cards, and gift wrap last year, the brand will expand to include underwear, outerwear, home furnishings, duvet covers, stationery, toys, and gifts.
FCP Rocks the Ice Age
Twentieth Century Fox Consumer Products EMEA (FCP) offers a lineup of film and television brands. Ice Age 4: Continental Drift hit theaters this summer. FCP has extended the brand experience into live entertainment with the debut of Ice Age: the 4D Experience, a fully immersive Ice Age attraction; and the launch of an arena spectacular, Ice Age Live! A Mammoth Adventure. Other film properties for FCP include Epic and Rio 2 from Blue Sky Studios, and Steven Spielberg’s Robopocalypse. FCP will celebrate The Simpsons historic run with an all-out blitz for the show’s 25th anniversary. FCP’s Family Guy will see new retail and promo-tional partnerships. Sons of Anarchy will continue to grow as well, and plans for New Girl are just getting started. FCP’s expansion in the interactive space includes new online and console games for Ice Age, Family Guy, and Aliens, plus the launch of its global e-commerce business.
Fall 2012
41
Brand Licensing Europe
PROPERTY SHOWCASE
M oon s c oop’s Code Lyok o E volves
Moonscoop introduces Code Lyoko Evolution, a new series that is a sequel to the animated property. Long-term production partners on the franchise, France Television and Canal J, are producing a brand new series of the show, which will be a mix of CGI animation and liveaction in full HD. It is set to launch early next year. Code Lyoko, which targets kids 6 and up, is sup- Code Lyoko Evolution ported by an extensive licensing and merchandising campaign with consumer products in categories such as publishing, home entertainment, and toys and games. Moonscoop has developed a Code Lyoko social online game in partnership with 3D DUO, a French creator and producer of video games. The game launched internationally in July as a Facebook application, with plans to roll it out to further online platforms. Players will be able to take on roles of their heroes from the show.
R S PC A Si g ns Ne w D e a l s
Leading animal welfare charity The Royal Society for the Prevention of Cruelty to Animals (RSPCA) returns to Brand Licensing Europe for the second consecutive year. Aurora, Sert-MST, Vogue International, WHSmith, Scholastic, Benchmark, Paperlink, Jeego, and John Lewis have joined the RSPCA’s already established list of partnerships including Rayware (through its Mason Cash range), UK Greetings, Special Editions, Happy Pet, CP Designs, and the Noel Tatt Group. The RSPCA has signed new deals for product lines including apparel, greeting cards, giftware, housewares, stationery, downloadable apps and e-cards, publishing, pet food, wild animal food, and pet accessories.
C oo l a b i B r i ng s P o p p y C a t to th e F o r e f ro nt
Animated preschool property Poppy Cat is co-produced by the animation house King Rollo Films, and Coolabi, which also licenses the property. Golden Bear is the master toy partner for the brand, launching plush and collectible lines in the UK this fall. Alongside these licensed products are Jumbo Games’ puzzles, Macmillan’s new publishing, TDP Aykroyds’ pajamas, and Lionsgate’s first Poppy Cat DVD. UK animators Studio Liddell produced the first Poppy Cat app for Apple and Android smartphones and tablets. A number of other key partners are also secured for the property, including Silver-Knit, VMC, Trade Mark, and Alligator Books. The Joester Loria Group is the exclusive licensing agent for Poppy Cat for North America, and a home entertainment deal for the U.S. with eOne was announced in January. Planeta Junior has been granted the agency rights to Poppy Cat in France, and Asiana Licensing has been awarded the rights in Korea, where the show airs on EBS.
RSPCA in action
Poppy Cat
42
Fall 2012
Brand Licensing Europe
Im i r a E nt . S e e k s Li ce ns e e s f or Lu c k y F r e d a nd K u m i s
PROPERTY SHOWCASE
Imira Entertainment showcases the multi-platform alien adventures of Lucky Fred and the retro Japanese style of Kumis. Lucky Fred is a broadcast-based property aimed at 6 to 12 year olds that has already attracted a lineup of international partners. TF1 Licences (France) and Coscoi (South Korea) have joined CPLG (Germany, Italy, and Benelux) as licensing agents for Lucky Fred and are targeting key categories including toys, publishing, apparel, and stationery, as well as promotional and marketing activities. New agreements for further territories are under negotiation. Imira Entertainment is handling consumer products in Spain and Portugal and has already signed the first publishing partners for the brand, with Editorial Planeta (Castilian version) and Grup 62 (Catalan version) in place to release 16 book titles between 2012 and 2014, including electronic books. The series is complemented by the Lucky Fred crossplatform app, which features a web and mobile-based interactive geo-localized alien hunt. It includes multilayers, collectibles from the series, and puzzles. Available via the Apple Store and Android Market, the app recruits fans as special agents and tasks them with finding and neutralizing aliens in their own city in exchange for prizes, including exclusive collectibles and discounts for local attractions.
Lucky Fred
44
Fall 2012
E u r o Li ze n z e n P r e m i e r s A n ne G e d d e s L ic e n s in g Pro g r a m
Munich-based licensing agency Euro Lizenzen, in corporation with the Geddes Group, is developing a licensing program for the Anne Geddes brand in Europe. Long-term Italian licensees for some product categories are already in place, including Cotonificio Zambaiti with home linens and Virca with stationery. In addition, Euro Lizenzen has signed new licensees for apparel including Manifattura Battaglia and Italian Brands. Cartiere Paolo Pigna is preparing a back-toschool program set to launch next year, along with new Anne Geddes Easter eggs from Italian confectionary company Wal Cor. Universal Music is launching a range of Anne Geddesbranded CDs for babies. The albums will be a compilation of different musical directions, including Mozart, goodnight songs, and recomposed pop ballads.
C r e a t i v e L i c e n s i ng A n no u n ce s 1 2 N e w Li ce ns e s
Creative Licensing Corporation extends its list of licenses with a dozen new licenses worldwide. Rambo apparel, games, drinkware and wall décor, and miniature figures will be produced in Australia, the UK, the U.S., and Japan, respectively. In the U.S., Becker and Mayer will produce Terminator books, while Orion Costumes will make costumes for the UK. Becker and Mayer will also have books for Terminator 2: Judgment Day in the U.S. In the UK, Mystery Box will have limited-edition posters, and Smiffy’s will have costumes. For The Deer Hunter, Hot Toys will produce figures in Hong Kong. Plastic Head will represent Hammer Films in the UK with a line of apparel. Bill and Ted’s Excellent Adventure drinkware and wall décor by Silver Buffalo will be released in the U.S.
Caroline Mickler Offers Fifty Shades of Grey
As master licensing agent for E.L. James’ trilogy Fifty Shades of Grey, Caroline Mickler is building the licensing program globally on a direct basis in the UK and through carefully selected agents internationally. CopCorp Licensing has been appointed the North American agent for the property. Among the categories being discussed for licensing are lingerie and sleepwear, apparel, beauty products, bedding, home furnishings, stationery, jewelry, and adult products. Since 2003, Caroline Mickler, Ltd., has been implementing the UK brand licensing program for The Beatles on behalf of Apple Corps, Ltd. since 2003. The program has built on The Beatles as a design-led property, taking the multiple associations of The Beatles brand into a number of categories, including jukeboxes, calendars, cushions, playing cards, slippers, fashion bags, and high-end heritage T-shirts. Horrid Henry is the most successful children’s literary character after Harry Potter, with more than 18 million books sold in the UK and copies available in 25 languages. His adventures include the lead role in the touring show Live and Horrid, a dedicated website, a children’s film, and a hit album. The character is the focus of a fast-growing licensing campaign, already covering toys, video
MGL Launches Marsh Mellow
Leading MGL’s lineup this year is new children’s property Marsh Mellow. This new art brand is set in a colorful world of cheeky animals and bright, bold landscapes. Penguin Children’s has signed an exclusive global publishing and IP partnership deal for the preschool brand. The company has also acquired digital, film/TV rights, as well as merchandising rights for toys and gaming. The first product to launch will be a suite of preschool apps next year under the Ladybird imprint with a book line to follow. MGL will handle all other categories including apparel, back-toschool, household, and accessories. MGL will also showcase new artwork from Extreme Zombies and Hot Foot, as well new collections from British artists Peter Adderley and Reilly, with new signings coming from established U.S. artists Sarah Beise and Mindy Pierce.
Fall 2012
45
Brand Licensing Europe
PROPERTY SHOWCASE
B r un o Pr o d u ct i o ns O f f e r s S o ft Spot s, Wooly, and Mor e
Pioneer Balloon and Paso, a company that produces backpacks and school accessories, have signed a deal with Bruno Productions for Soft Spots, a collectible range of six puppies. Mishme Enterprises is currently developing a Soft Spots avatar, which will soon be available on Facebook and in mobile app format. Bruno Productions has appointed James Ha of Roireh to be the agent for the little lamb Wooly, in South Korea, who signed a deal with Goda for mobile phone accessories. The Step-byStory app by Movable Code has been launched, featuring Wooly in a create-your-own-story concept. In addition to Soft Spots, Wooly, and Angel Cat Sugar, Bruno Productions represents Almost Naked Animals, Twisted Whiskers, Fido Dido, and Icebreaker Entertainment’s Slang Brands for the Benelux. Bruno Productions now holds the Benelux rights for all three Slang Brands: Sassy Slang, Sporty Slang, and Sexy Slang.
Soft Spots
Ne l v a na E nt e rp ri se s H a s Ba b a r a nd B e y b l a d e
Featuring King Babar’s grandson, Badou, Babar and the Adventures of Badou reinforces the importance of family, respect, and leadership. It is a Canada-France co-production from Nelvana Studio and TeamTO, in association with The Clifford Ross Company and TF1. Both vintage and modern Babar are supported by a style guide and a website at www.babar.com. Licensees in France include World Apart for bedroom accessories and Riethmuller for party goods. In Germany, Hutter Trade will make board games featuring the characters. Vita-Alisa is on board as master toy partBadou ner in Russia. Beyblade: Metal Fury, from Nelvana and d-rights, Inc., is part three of the Beyblade saga. Beywheelz is a new chapter in the franchise, showcasing the new Beywheelz toys. Hasbro is the master toy partner for the property and Nelvana has secured more than 220 international licensing partners.
R e d a n Pu b l i sh i n g L a un c h e s L i c e n s i n g Di v i s i o n
Redan Publishing, an independent publisher of children’s magazines in the UK, is launching its own licensing division, Redan Alchemy LLP, to manage the company’s IP rights, in-house characters, and future third-party brands for licensing. Michael Gottlieb, a previous employee of Warner Bros. Consumer Products, will be heading this licensing division as CEO. Gottlieb has worked in the licensing industry for 25 years and has experience with developing international consumer products throughout different sectors. This year, Redan Publishing won the LIMA Award for Peppa Pig Magazine. Redan Publishing has also created a girls’ magazine, Sparkle World, and a line of preschool magazines, under the Fun To Learn banner. Redan is looking to license its magazine brands as well as its characters, including Goblin Princess, The Sparkle Fairy, The Goblin Princess, and Mik, Mak, and Zak.
46
Fall 2012
S aban H as Megaforc e
Next year is the 20th anniversary of the Power Rangers brand. To mark the milestone, Saban Brands will launch Power Rangers Megaforce, scheduled to air early next year on Nickelodeon in the U.S. A new global consumer products program, featuring unique content and merchandise to commemorate the anniversary, will accompany the new series. Current global licensing partners for the Power Rangers Megaforce launch include Bandai and Mega Brands. New international licensees for Power Rangers Samurai include Xbox 360, Genesis, Fremantle, Morphsuits, Roadshow, IMC Toys, Parragon, Blue Ocean, Panini, and Big Balloon. The Power Rangers business is growing in India with new licensees including BioWorld, Radnik Exports, Only Kidz, and Sterling Enterprises. Led by the iconic monkey Julius, Paul Frank delivers dual gender and cross-demographic appeal from infant to adult. Paul Frank merchandise includes apparel and accessories, books, stationery, eyewear, home décor, and bicycles. New international licensees for Paul Frank include Pan Am, Play Imaginative, Spidi, TV Mania, TWC, Sky Brands, Plast Team, Falabella, Nytron, Aroma Drive, and Protap. Go Sport in France launched Paul Frank technical apparel in August, and there will be Paul Frank-branded windows at 48 Go Sport Stores in the fourth quarter of this year. More than 100 Paul Frank retail stores are expected to open by the end of next year in China, Bangkok, Kuala Lumpur, and Singapore, with further plans to open stores in South Africa.
Al p h a n im H ig h l ig h ts Ca l i me ro
Alphanim’s portfolio offers original properties and third-party brands. Alphanim is highlighting its preschool CGI series, Calimero. For its 50th anniversary, the show is back in a new CGI series along with a new licensing program. With his signature eggshell atop his head, Calimero is back for new adventures for children ages 4 to 7. While expanding the vintage program targeting young adults who grew up watching the 2D series, Alphanim looks to secure new licensees who will develop preschool licensed products based on the new CGI designs. With Henson Independent Brand, Alphanim has opened its portfolio to lifestyle and design brands to complement its primarily kid- and entertainment-focused offerings, including Skatelab, an authentic graphic-driven lifestyle skate brand. Psyclops, a poppy tween lifestyle and design brand, features funny, contemporary one-eyed characters that embrace the worlds of art, music, dance, and technology. Calimero
Sa n to r o I s G o rju s s
Gorjuss ranges include special-edition premium-quality collectible dolls, highend gifts, fashion bags, accessories, home fragrance, arts and crafts, chocolates and gift confectionery, greeting cards, postcards, puzzles, and kitchen textiles. The products are available in more than 40 countries, and Santoro will discuss new licensing opportunities across categories, including character collectibles and keepsakes, jewelry, housewares, partyware, wall décor, publishing, media accessories, fashion apparel, and beauty products. Santoro’s Eclectic collection features unique designs currently available on fashion bags, cosmetic bags, stationery, gifts, premium-quality greetings cards, and accessories in more than 35 countries worldwide. New licensees include Ashleigh & Burwood, Ltd., with a sophisticated home fragrance offering in the UK; and Pictura Sarl with quality dated products and Ceanothe SAS with photo albums for France.
Fall 2012
47
Brand Licensing Europe
PROPERTY SHOWCASE
Zi nk i a E nt e r t a i n m e n t E x p a n d s G l o b a l R e a c h o f P o co y o
The animated series Pocoyo first launched in 2005 across all media platforms in a multitude of languages. Pocoyo now airs in more than 150 markets around the world with new partners joining, such as Nick Jr. U.K. In the U.S., the series has aired on Nick Jr., Univision’s Planeta U, and select PBS Kids stations since its debut in 2010. In the licensing arena, Pocoyo has more than 200 partners worldwide and continues its global expansion. In the U.S., Zinkia recently signed a slate of new licensing partners, brokered by North American Licensing and retail development agent Evolution, which includes LeapFrog Enterprises (digital content for the LeapFrog platforms), Buy Seasons (online party goods and accessories), Pioneer Balloon Company (balloons-global), Baby Boom Consumer Products (toddler bedding and cuddle pillows), and JCP Live Productions (costume character events). The new licensees join the brand’s existing roster of key partners, including Bandai America (master toy), Random House Children’s Books (books), Bentex Group, Inc. (master apparel), TCG (puzzles and games), and NCircle Entertainment (DVD). In Russia, Zinkia has signed Rio Licensing as the licensing agent, and Gran Toy as the master toy partner. In Turkey, Zinkia has secured licensees for Pocoyo across a multitude of categories, including apparel, publishing, stationery and BTS, toiletries, undergarments, socks, sleepwear, blankets, and bedding, with Metropol serving as the licensing agent. In South Korea, Zinkia has signed licensing agent Cocoban and has renewed the agreement with its Pan-Asian agent, Empire. Pocoyo expands growth in its home country of Spain with new licensee deals, including apparel, footwear, and gift and novelty, bringing the total number of licensees in Spain to more than 50. The company has also secured a new licensing agent, Tycoon, to manage Ecuador, Peru, Venezuela, and Colombia.
48
Fall 2012
S MC E n te r ta in m e nt A d d s Global Mas te r Toy L ic en se e for T he J u n g l e B o ok
SMC Entertainment, brand owner of the new The Jungle Book 3-D CGI-animated TV series, licensing, merchandising, home entertainment, and promotional rights for North America, Australia, New Zealand, and South Africa, continues to expand its roster of licensees with the addition of Sun-Mate Corporation as the global master toy licensee. Sun-Mate Corporation will launch a range of The Jungle Book toys, which will include articulated action figures, play sets, collectibles, watches, adventure toys, youth electronics, walkie talkies, and other novelty toys. SMC recently inked a three-year global deal with Burger King for promotional kid’s meal programs featuring The Jungle Book, starting next summer. Additional licensing partners for The Jungle Book include: Phase 4 Films (home entertainment), Isaac Morris (master apparel), Komar (sleepwear and robes), Seasons USA (costumes and Halloween accessories), Nanco-Nancy Sales Company (amusement/crane machine plush), Insight Editions (publishing), Pacific Play Tents (tents and tunnels), My Idol Pops (molded lollipops), The United States Playing Card Company (traditional playing cards), Cosrich (HBA and first aid), Hilco (candy/candy toppers), Glittertainment (tattoos), Buy Seasons (online party goods), Craftstone (2-D plush, fabric storybooks, mini blankets, pillows, cushions, and plush hand puppets), and Walls 360 (removable wall decals, wall graphics, and stickers—online sales).
D e s p i c a b l e M i ni on s , fr om U n i v e r s a l
At the center of Universal Partnerships & Licensing’s lineup is Despicable Me 2, the sequel to the 2010 film Despicable Me. The film will hit theaters next summer, and is a comedic animated adventure featuring Gru, his girls, the unpredictably hilarious minions, and a host of new characters. Also debuting next year is the 3-D fantasy-adventure 47 Ronin, starring Keanu Reeves; Oblivion, the science fiction motion picture event starring Tom Cruise; R.I.P.D., the supernatural action-adventure starring Jeff Bridges and Ryan Reynolds, and Steven Spielberg’s Jurassic Park in 3-D. In 2014, Illumination is set to release its fifth feature film, The Untitled Minion Project, featuring the iconic minion characters from Despicable Me and Despicable Me 2. In addition, Universal will feature Les Misérables, the motion picture adaptation of the musical, starring Hugh Jackman and Russell Crowe, in December. minions
B RB I n ter n ac ion al P res en ts N ew L ic en s es
The Invizimals, with its three video games—Invizimals, Invizimals: The Other Dimension, and Invizimals: The Lost Tribes—will have its own animated series next year, which BRB Internacional and SCEE are developing. Invisible to the human eye, the Invizimals only become visible once captured by the Playstation Portable (PSP). As the licensing agent for Cartoon Network in Spain and Portugal, BRB Internacional will also show Turner CN Enterprises’ products for Ben 10 Omniverse and Adventure Time. Bandai recently launched a new set of Omniverse toys in Spain, while Simba Iberia is distributing Adventure Time products by master toy partner Jazwares.
LM I R e l e a s e s A n ni v e r s a r y M G B
Licensing Management International (LMI) recently signed licensees for London Taxi with bicycles and accessories from Waimanly, a London Taxi Model Kit from Revell GmbH, and a London Taxi die-cast model from Henbrandt Limited. Licensees for British Motor Heritabe/MGB 50th Anniversary include Atlas Editions for Austin Morris/Rover/MG die-cast police car models, and Factory Entertainment for an Austin Taxi die-cast model. LMI has also signed licensees for Maurer’s Celebrity Icons with Poetic Gem for lingerie and Beauty Co. for make-up kits. To mark the 50th Anniversary of the MGB, Corgi is releasing two limited-edition die-cast collectibles. The MGB White Gold 50th Anniversary model launches Corgi’s new rubber bumper tooling and features a detachable roof and official MGB 50th anniversary logo on the bonnet and doors. Also available is the Limited Edition MGB 50th Anniversary Set, featuring the first and last MGBs produced. London Taxi
Fall 2012
49
Brand Licensing Europe
PROPERTY SHOWCASE
J E LC S p r e a d s He a l t h y M e s sa g e w ith Froobles
The Bamforth Vintage Collection designs have appeared on bookmarks, coasters, metal signs, pint glasses, gift confectionery, cufflinks, business card holders, key rings, hip flasks, lighters, personalized magazine covers, kitchenware, outdoor living products, T-shirts, calendars, and a new range of classic postcards. Deck chairs, mirror frames, seaside rock, books, and apps will soon follow with more deals to be announced. The Turizmo brand features metal creatures that can shift from robot-like characters into specific vehicles. JELC, the global licensing agent for the brand, is looking to expand the brand through publishing, gaming, trading cards, a variety of mobile content, and toys. Australian tech company Mishme will produce digital avatars for Turizmo. Gem Fairies is a new princess and fairy brand for girls ages 2 to 6. Greeting card ranges for the princesses-turned-fairies are available at Toys “R” Us, Sainsbury’s, Asda, and other retailers. JELC has signed overseas agents in Thailand and Australia, with South African Greetings on board with the first overseas greeting card license. Preschool property The Froobles is already a publishing success across a number of territories. The educational stories send a healthy lifestyle message to kids. JELC will be targeting a number of licensing categories with The Froobles.
50
Fall 2012
41 En t e r t a in m e n t a n d D is ne y X D P a r t ne r fo r P a c - M a n
41 Entertainment has partnered with Disney XD in the U.S. for Pac-Man and the Ghostly Adventures. The series is based on the Pac-Man brand owned by Namco Bandai Games, Inc. Created in Stereoscopic 3-D, the series is produced by Rick Ungar along with Avi Arad of Arad Productions. Bandai is the master toy partner with a full line of toys planned for release. Namco Bandai Games will create video games based on the series for all major platforms. Both the toy line and the video games will launch in tandem with the release of the show next fall. Pac-Man and the Ghostly Adventures follows the daily events of Pac, the only round, yellow citizen of Pacworld, as he saves his planet from the ghostly army led by evil Sir Cular. Together with his friends, Pac tries to return the ghosts to Netherworld. Striker Entertainment has been appointed to handle several key categories, including apparel, accessories, footwear, health and beauty aids, oral care, and publishing. CDM Company will handle all consumer promotional efforts. All other categories not specifically handled by Striker and CDM will be retained by the 41 Entertainment in-house team. 41 Entertainment will manage the overall global licensing and merchandising program and has already granted a number of key licenses. Bringing the brand global, Lisle International will handle all licensing and merchandising activity in the UK and Erie, while Gaffney Licensing will handle the same in Australia and New Zealand. BRB Internacional will represent the brand in Spain and Portugal; Tycoon Enterprises in Mexico; Redibra Licensing in Brazil; and Televix in Costa Rica, El Salvador, Honduras, Nicaragua, Panama, Columbia, Dominican Republic, Venezuela, Peru, Chile, Uruguay, Paraguay, Argentina, and Bolivia.
Corporate Corner
Perfecting the Serve Coca-Cola Worldwide Licensing Seeks to Enhance the Coke Experience by Loren Moreno
aving spent the past several years building its fashion and lifestyle product business—with labels such as Dolce & Gabbana and Jack Spade contributing—Coca-Cola Worldwide Licensing is going back to fundamentals as it prepares to roll out a line of new licensed products focused on perfecting the way the iconic beverage is served. At the heart of the Coca-Cola brand is its classic beverage, says Kate Dwyer, head of global licensing, so in the coming months look for the company to re-focus its efforts on glassware, bottle openers, tumblers, and coolers—all the things classically associated with the Coke experience.
H
the new Coca-Cola Curve glass, from Libbey, and mini bottle opener, from Tablecraft
52
Fall 2012
“Last year was really driven by our fashion and accessories programs,” says Dwyer. “Our glassware was at small single digits, in general, compared to some of our other categories. It made us realize there was an opportunity to continue to build-out both the product range and designs and infuse that category with innovation.” Coke’s iconic Genuine glass, with its bell-like shape that mimics the Coke bottle, is already embedded deep in the consumer consciousness. Originally introduced in 1998, the Genuine glass is by far the company’s most successful licensed glassware item, owing to its availability in 206 markets worldwide. Some 50 million glasses are sold each year. This fall, glassware company Libbey will create an extension of that shape with the new Curve glass. It will have all the iconic elements—the basic contour shape, the Coca-Cola script, and the dynamic ribbon device—but it’s a new interpretation. The partnership with Libbey for the new glass shape is indeed an effort to go back to basics, while at the same time driving the glassware category forward, says Dwyer. “Libbey was our partner in the 1940s when we created one of the first [glasses] with that contour shape,” she says. “So it’s kind of a great story and partnership that we’ve had with Libbey throughout the years.” The success of the Genuine glass has also led Coke to enlist a yet-to-be announced industrial designer to create several different versions of the glass shape, two of which will make its way to the market next year. So why all this focus on glassware? “We think of Coca-Cola as an experience, not just a brand or a product,” says Dwyer. To that end, Dwyer says the company is looking to re-introduce the idea of the “perfect serve,” a concept that will be promoted through its upcoming line of licensed products. What does a perfect serve entail? It’s different from
Coca-Cola can-shaped glasses, from Arc, and straw dispenser, from Tablecraft
person to person, but the basic elements include a Coke glass, a chilled Coca-Cola (38 degrees is recommended), three to four ice cubes, and pouring half of the CocaCola at a right angle into the glass. “Going back to some of our marketing material in the 1940s, the perfect serve was about delivering an experience—taking out the glass, placing the ice in the glass, hearing that sound of the bottle opening, listening to the bubbles rise to the surface, anticipating that taste, and then finally consuming the product,” says Dwyer. “For us, it’s about designing products that enhance that experience and make it a little more special.” In addition to new glassware, Igloo has designed a custom Coca-Cola version of its Playmate cooler to mark its 65th anniversary. Rolling out this December, each cooler is fitted with Igloo technology on the inside, with well-known Coca-Cola advertising slogans such as “Coke Is It,” and “It’s The Real Thing!” printed on the side. Tervis has created a new line of plastic tumblers inspired by Coca-Cola’s classic colors and archival slogans. The double-walled tumblers prevent condensa-
tion, enhancing the drinking experience. Dwyer says she expects it to hit “iconic status,” just like the Genuine glass. “When we visited the (Tervis) showroom, the salesman said that he was addicted. He gave my husband and me samples of the glass and he was like, ‘This will become your favorite glass ever. You will never put it down.’ And I think there is something to that,” she says. Thirstystone, a new licensee for Coca-Cola, has signed on for a new range of coasters; Tablecraft, creator of restaurant-quality entertaining accessories, is releasing an update on its classic flat-pocket bottle opener; Arc has made two new Coca-Cola can glasses, modeled after the classic can; Platex has designed an acrylic tray, perfect for serving a round of chilled Cokes; and Tinbox has expanded its decorative CocaCola tin offering. On the horizon, Dwyer says to expect more innovation in the serveware category, including additional glassware shapes and collaborations with graphic artists for new glass designs. “For us, the whole beverage experience is so important because it is our largest marketing opportunity. We serve more than a billion servings a day, so that experience with the consumer is our best marketing vehicle. It’s such a critical piece of the product, clearly it is the heart and soul of it,” she says. ••••
The Four Elements of the Perfect Serve 1. Temperature—Whether chilled in the refrigerator or on ice, Coca-Cola should be 38 degrees (3 degrees Celsius), which ensures optimum flavor. 2. The Contour—The contour bottle shape, of which the Genuine glass shape is an extension, is part of the experience of drinking Coke. 3. The Ritual—There is no one, set ritual, but adding ice cubes to a Genuine glass and pouring Coke over adds to the anticipation. A fresh squeeze of lime or lemon enhances taste and aromatics. 4. Environment—Whether at a restaurant, a movie, or home with friends, Coke is part of creating a good memory. Source: The Coca-Cola Company
Fall 2012
53
Good Practices
Be Sure You’re Aware of Potential Supply Chain Issues by Martin Brochstein, senior vice president of industry relations and information, Licensing Industry Merchandisers’ Association (LIMA)
Part of the challenge in dealing with potential supply chain issues is making sure you’re up-to-date on the myriad potential stumbling blocks in getting a product made. Thankfully, there are a lot of online resources that can help you keep abreast of the latest developments. As noted in the previous three articles in this series, many companies may believe they’re doing everything correct in terms of complying with licensors’, licensees’, and retailers’ standards for corporate social responsibility (CSR) and, indeed, many are. But there is always room for improvement, sometimes in subtle ways. This material is drawn from Good Practices for Complying with Licensors’ Social and Environmental Requirements: A Practical Guide for Licensees, a 28-page guide developed by LIMA and BSR, a leader in corporate responsibility for nearly 20 years, with major contributions from the Licensing Working Group, consisting of Hasbro, NBC Universal, Time Warner, and The Walt Disney Company, among others. The importance of having products made in a socially responsible way is a particularly acute issue for those in the licensing business. Coming down on the wrong side of factory labor issues or environmental practices can damage the businesses of not just the brand owner and a specific licensee, but also of other licensees of that same brand. The Guide is designed to help illuminate issues and give practical tips to improve processes. The full guide is available as a free download from LIMA at: http://www.licensing.org/wp/wp-content/uploads/2010/09/LIMA-licensee-guide.pdf. Compliance risks include those related to your own operations, those of your business partners, and the sources of materials used in products.
in specific countries for reasons of legal compliance or poor social and environmental compliance.
Know How Risks Vary by Geography
Be Selective When Placing Production
National governments, including that of the United States, restrict imports from some Practical Tips for Licensees countries as part of counterterrorism or anti• Ask your licensors if they have restrictions narcotic programs. The against manufacturing in any specific counrestrictions can be comtries. prehensive (all products) • Consult official government websites for or selective (specific information about country-specific sanctions. types of products). In For example, the Office of Foreign Assets addition, some licensors Control within the U.S. Department of the prohibit manufacturing Treasury provides a list of Sanctions Proof their licensed product grams and Country Information.
54
Fall 2012
In general, factories in both the developed and developing world have noncompliance issues. However, in developing countries, the relative lack of enforcement creates additional challenges for achieving compliance. There are several useful lists and rankings commonly used as proxies for the likelihood of noncompliance risks in different countries or regions. The resources listed below can help you decide where to focus your compliance efforts: • OECD members versus non-OECD • Transparency International Corruption Perceptions Index • Freedom House • UN Human Development Index
• Social Hotspot Database • Country- and issue-specific reports and resources such as Human Rights Watch and the U.S. State Department • World Bank Governance Indicators It is also important to consider risks inherent to the different types of products and production processes, as well as the historical performance of specific suppliers. Ask your licensors if they can share information about risks to help you prioritize your compliance efforts.
Monitor Key Raw Material Sources and Risks
There is mounting evidence, public exposure, and government regulation about significant social and environmental compliance concerns related to the extraction and processing of raw materials in “upstream” supply chains for consumer goods—an emerging area of focus in the licensing industry. Even the largest licensors are challenged to identify and understand social and environmental issues related to raw materials, and they are still learning how to deal with them. Licensees should be aware of these concerns and seek to understand whether licensors have specific requirements related to raw materials. While licensors may have varying or evolving expectations of licensees in the management of raw material issues, government regulation alone may require that licensees take action. It can be difficult and time-consuming to track the sources of raw materials and to monitor social and envi-
Practical Tips for Licensees • Seek to understand the sources of raw materials (both in terms of geography and industry structure). • Be aware of issue hot spots, and stay informed about their developments. • Contact licensors to see if they can offer policies or guidance.
ronmental compliance issues at facilities when you have no knowledge of or contact with them. A number of commodity- and product-specific initiatives can help: • Responsible Sourcing Network • Round Table on Responsible Soy Association • Round Table on Sustainable Palm Oil • Sustainable Agricultural Network Certification Standard for Cattle Farms • Forest Stewardship Council
Declare Facilities to Your Licensor
As part of their social and environmental compliance programs, many licensors require licensees to provide information about the facilities where licensed products are produced. In addition, this declaration may be linked to customs requirements, and some licensors may require it for customs purposes. Be aware that licensors may have different (and more extensive) requirements for declaring facilities.
Know What Is “In Scope” for Declaration
Licensors have established a variety of requirements related to disclosure. Licensees must be prepared to disclose factory names, locations, conditions, and more, including: • Finished goods manufacturers • Any location where licensor intellectual property is present • Subcontractors for production and other purposes • Component or raw material suppliers for specific items and commodities • Embellishment suppliers • Packaging, packing, warehousing, and shipping suppliers and service providers
Fall 2012
55
Good Practices Always consult with licensors and refer to licensing agreements carefully to know what you are required to disclose and when.
Identify Facilities Making Licensor’s Product Practical Tips for Licensees • Maintain documentation of all facilities and entities that play a role in making a licensor’s branded product. • Familiarize yourself with licensee requirements and systems for disclosing factories, including whether and how you should proactively communicate with licensors to provide them with factory information. • You should be able (at a moment’s notice) to provide licensors with a list of suppliers, subcontractors, and agents related to a specific contract with a licensor.
Licensors should maintain accurate and up-to-date records of the facilities that are making licensorbranded products. This licensors’ contract requirement often helps them oversee compliance. This identification should include: • Facility names • Any aliases or “doing business as” names • Complete address, phone number, and email address
Monitor Use of Any Subcontractors
Require suppliers, subcontractors, and agents to inform you before subcontracting any elements of the production process. Employee recruitment firms are at particular risk of violating human rights and labor standards. Require notification when suppliers use them. It can also be helpful to keep a list of waste haulers, logistics providers, and other third parties used by factories. Although most licensors don’t require notification of these, they too present risks of noncompliance with social and environmental standards. The best practice is to include all business partners in a risk assessment. Require suppliers, subcontractors, and agents to conduct an audit of subcontractors before placing orders. A number of membership databases that contain detailed facility information, including social and environmental compliance audit results, can be useful for accessing and maintaining records, including recent compliance data on suppliers, subcontractors, and agents: • SEDEX (any industry or product type)
56
Fall 2012
• Fair Factories Clearinghouse (any industry or product type) • EICC (electronics) • GESI (electronics) • Better Work (apparel)
Practical Tips for Licensees Consult with licensors before selecting suppliers or placing orders by asking the following questions: • Has the licensor audited this facility in the past? Or does the factory have a recent audit they can share? • If so, how recently and what were the results? • If there were substantial noncompliance findings, how and when were they remediated? • Has the facility ever been terminated for noncompliances? • Can production of licensed products take place at this facility?
••••
Marty Brochstein joined Licensing Industry Merchandiser’s Association (LIMA) in 2008. Brochstein was a business journalist for more than 20 years, covering the consumer products and retail industries. He spent five years as senior editor of Television Digest and was the founding editor of Consumer Multimedia Report. He was also editor of Consumer Electronics Monthly and Electronics Merchandising, and spent time with Discount Store News, Chain Store Age, and Home Furnishings Daily.
The Voice Reaching Both Trade and Consumers
CONTACT: JONATHAN SAMET OR LAURIE SCHACHT ADVENTURE PUBLISHING GROUP 307 7TH AVENUE, SUITE 1601 NEW YORK, NY 10001 TEL: 212-575-4510 FAX: 212-575-4521 WWW.ADVENTUREPUB.COM
Property ProďŹ le
Licensor: Lawless Entertainment
Main Characters: The little prince, the narrator Audience: Boys and girls ages 6 to 9
Novella Author: Antoine de Saint-Exupery Master Publisher: Gallimard Novella Summary:
The narrator of the story crashes his airplane in the Sahara desert and is approached by the little prince, a small blonde-haired boy who hails from a small planet called Asteroid 325. The two become friends, and the prince explains to the narrator that he fell in love with a mysterious rose that sprouted on his home planet, but that he could no longer trust her after catching her in a lie. To relieve him of his loneliness, the prince decides to travel. On his journey, the prince encounters grown-ups for the first time, and is thoroughly unimpressed. He cannot comprehend the need the men he meets have to give orders, and their obsessions over their respective occupations. The prince also meets a riddle-speaking snake, a flower with three petals, a wise fox, a railway switchman, and a salesclerk, all of whom help the prince gain a deeper understanding of love, life, and human nature. After a year, the prince returns to his planet, and the narrator fixes his airplane. The narrator remembers the boy fondly and counts the little prince as his best friend.
58
Fall 2012
Novella Celebrates 70th Anniversary with New Licensed Products
I
by Marissa DiBartolo
n his best-known work, The Little Prince, French author Antoine de Saint-Exupery wrote,“Grown-ups never understand anything by themselves, and it is tiresome for children to be always and forever explaining things to them.” Since it was first published in French and English in 1943, The Little Prince has explained lessons of existentialism to both children and adults around the world. Nearly 70 years later, the novella has been translated into more than 250 languages and dialects with more than 400 million readers worldwide, and is considered one of the best-selling books ever published. Bringing the blonde-haired Little Prince to life outside the pages of the text, Lawless Entertainment is expanding The Little Prince brand into the U.S., Canada, and the UK. Lawless recently acquired the property in the spring, placing The Little Prince alongside the company’s other licenses, including Suzy’s Zoo, Big Dogs, Andy’s Airplanes, and Kookatoo. The Little Prince debuted in the U.S. at the Licensing International Expo in June, where Cathy Malatesta, president of Lawless Entertainment, realized the property had already made a name for itself, despite the fact that it had yet to be licensed in the U.S. “I was amazed at the level of brand awareness that pre-exists for this property. It seems as though every mother, grandmother, and child has read the book. It has been a classic for many, many years,” says Malatesta. Next year, The Little Prince will celebrate its 70th anniversary. Lawless is commemorating the event with a full-range of anniversary products to be sold worldwide, including an anniversary edition of the novella by master publisher Gallimard. Other licensees for the brand include Jemini with a
new range of plush, Pixi with figurines, and Moleskine with a collection of 2013 and 2014 agendas. Taking the classic tale into the digital age, Thomson, Moffing, and Andy Tab will launch a Little Prince application for tablets. For the iGeneration, Colibri Official has designed custom-made, special edition MacBooks, iPhones, and iPads featuring the little prince standing on Earth and gazing at the stars and planets. The MacBook Pro will be available in 13- or 15-inches, and the MacBook Air will be available in 11- or 13-inches. The custom iPhone 4GS showcases the little prince on the back of the device and a has simple star in the center of the home button. Both Macbook versions and the iPhone come in black or light blue. The 64 GB iPad 3 comes in navy blue, and also features the classic minimalist artwork from the novella. On the small screen, the third season of the animated series, consisting of 24 episodes, will debut in January on the Vortexx Channel and on Netflix. In addition to the series, Warner Bros. will distribute a full-length feature film, The Little Prince, in spring 2014. Though the novella has a target audience of boys and girls ages 6 to 9, the property reaches a broad demographic. According to Malatesta, The Little Prince remains a prominent text for children and adults alike world-over. “I think that no matter where you are or from what walk of life, culture, or territory you come, this is one of the few books that crosses all cultural barriers and, from today’s standpoint, is extremely relevant,” she says. ••••
Fall 2012
59
Social Media
I
How to Use to Grow Your Business
by Andreea Ayers, founder of Launch Grow Joy
f your business isn’t on Pinterest yet, it will be by the time you finish reading this. First, here are some stats: • Pinterest users are 25 percent more likely than Facebook users and 10 percent more likely than Twitter users to “like” a business. • Pinterest-referred customers spend 70 percent more money than the average web shopper referred by non-social channels. • They’re 10 percent more likely to make a purchase, and will spend 10 percent more on average. Winning these predominantly female customers (and their kids) demands creativity, but you’ll be rewarded for your hard work.
Set Up for Success
The first step is to ensure that your Pinterest account is properly set up. Pin under your business name—not your own name—to build brand recognition, and use your logo or a recognizable product shot as your avatar.
How to Share
Do you spend most of your Pinterest time talking about your business or your products? If yes, it’s time to change the way you pin. Social marketing works best on the 80/20 rule: 80 percent social, 20 percent marketing. Most users visit social networking sites for fun and information, not to be sold a product. For social sharing, choose beautiful images, DIY projects, or tutorials. Marketing covers your product and news about your online store or a sale.
What to Share
60
Build your pinboards by making a list of themes related to your business. For example, if you’re in the
Fall 2012
music business, create boards of favorite album covers or musicians, famous guitars, and the world’s best music venues. Of your 3-5 favorites, build pinboards that weave your brand into the story. Pin images can come from the web or your computer, or the pinboards of others, known as a repin.
What Else to Share
Followers and fans love to peek behind the scenes. Share photos of your team at work and the space in which you work. If you have staff members, ask them to contribute to your boards and share a few of their own. Don’t forget to pin images you already have, such as product shots and your blog post images. The goal is to share interesting and beautiful things, so don’t just pin everything you see. Pinning with a purpose will help you establish yourself and your business as one to watch. As a business on Pinterest, you want to use the site to drive users to your online store, so be sure to link images back to your website and blog.
One Last Tip
When you’re new to Pinterest, you need to do some legwork to win followers. Follow high interest Pinterest users and comment on their pins, repin, and generally find ways to become a community member. Invite followers from your other social networking sites, your blog readers, and members of other online communities you participate in to visit you on Pinterest. GGGG Andreea Ayers is a Pinterest expert and serial entrepreneur. She currently blogs at www.LaunchGrowJoy.com about everything from getting your products in stores to getting media coverage for your brand.
Social Media
Facebook and Your Business The Anatomy of an Effective Facebook Post
by Seth Lieberman, CEO Pangea Media/SnapApp n effective Facebook strategy for your business achieves your goals of education, engagement, lead generation, and feedback, and requires thoughtful planning. Cover and profile photos, tabs and favorite apps, and milestones must all be considered in order to maximize all that Facebook’s Timeline layout offers. Below are seven things to think about when crafting that perfect post. Figment, an online community for writers to share and connect with other writers, has a great Facebook page that I use to illustrate a few key points.
A
Audience
I’ll state the obvious here: your company’s Facebook page is not your personal page. Depending on your personal Facebook usage, this can mean a lot of things: post with more restraint, post more frequently, keep a more general audience in mind, etc. Who is your business’ Facebook audience? More importantly, who do you want that audience to be? Remember to speak to them when you are posting for your company’s Facebook page.
Voice and Tone
Related to the above, the voice of your Facebook page should reflect the image you are trying to project. Unlike your personal network, your Facebook fans may
62
Fall 2012
not know you very well. Therefore, as they “meet” you via Facebook, and get to know you, how do you want them to characterize you and your business? Humorous? Quirky? Serious? All of the above? Keep in mind that the Facebook culture leans toward the more casual, so make sure you don’t come across as too stiff. Figment’s About section accomplishes two goals. First, it states who the page is for (audience). Second, it captures Figment’s voice and tone: a bit humorous, a bit fun, a bit self-deprecating.
Content
Your posts shouldn’t solely be promotional material about your company and products. Everything you put out should offer engaging value to your fans. News, humor, entertainment, and insider insights grab your audience’s attention and motivate them to return for more. Simply pouring out post after post of advertising copy will mean losing fans and readership; people want to be engaged with the material, not spammed. Content that leads people to interact on your page is particularly powerful. You can use your posts to drive fans to quizzes, personality tests, surveys, and Facebook sweepstakes that are in your Favorite Apps/tabs slots. This type of content is also an important way to get likes, shares, and more. Also, be positive, because no one likes a Negative Nellie. Don’t trash talk your competitors.
Figment uses its Favorite Apps/tabs slots to add contests, quizzes, photos, and more. Its “Could You Catch a Killer?” quiz is one of dozens of quizzes that Figment creates and publishes to its page on a regular basis in order to drive interaction and give visitors a reason to explore the site and come back regularly. It is also a clever way to promote products, such as the book I Hunt Killers.
Context
Post as part of a series to announce an offline event or in response to customer feedback. That greater context gives people a reason to keep coming back to your page looking for the next piece of information, and it allows you to update them on what you have been doing in the interim. After posting a quiz as a tab, Figment adds it to its News Feed. Visitors who take the “Could You Catch a Killer?” quiz can continue to engage with the quizzes, book, and others via comments and posts on the site.
Timing
The best time to post to Facebook is a matter of much debate. In general, think about who you are trying to reach and when they are most likely to be spending time catching up on their Facebook activity. The best posts go live when your fans have time to read and digest them and, hopefully, react. Chances are, this is not when they are hard at work, but rather during lunch time, evenings, and weekends. Experiment and see what makes the most sense for your page. Figment makes sure to post frequently on its page, often several times a day. This is a great way for the company to stay top of mind with its audience.
Interaction
Drive interaction with your Facebook posts by asking for advice, opinions, or related stories. Each time a customer responds to your post, he signs up to get a bump from you every time somebody else responds. That kind of conversation gets real results in social media. Personality tests and surveys, where people can
posts shouldn’t solely be promotional “ Your material about your company and products. Everything you put out should offer engaging value to your fans.”
share their opinions and results, are effective tools to get interaction and information that you can really use. To get things started, don’t be afraid to prime the pump by having a friend, employee, or loyal customer be the first to comment. For example, Figment comes right out and asks for participants to “share your six word story now!”
Responsiveness
Once people have responded to your initial post, make your own comment to keep the conversation going. Now that individuals can send a private message to your company, there is a huge opportunity to really engage in a dialog. Make sure that you are not letting your Facebook page go unattended. For better or for worse, most of us have come to expect immediate results online. •••• Seth Lieberman is the CEO of Pangea Media/SnapApp. Under his leadership, Pangea Media’s platforms have facilitated 300 million-plus customer engagements. Lieberman has 15 years of experience in online advertising, customer acquisition, lead generation, and customer engagement. SnapApp is a marketing platform that empowers brands, publishers, and agencies to foster conversations across the web. With the SnapApp platform, companies can easily create engaging content including quizzes, surveys, sweepstakes, and contests that can be published on Facebook and websites, in emails, on Twitter, and more. Companies use this content to drive results including registrations, likes, follows, +1s, shares, subscriptions, time on site, and ad revenue.
Fall 2012
63
Licensing Administration
Streamlining the Administration of a Licensing Business, Part III
I
The Future of Licensing Is Unpredictable
by Amos Biegun, CEO of Counterpoint Systems
recently attended the National Association of Broadcasting (NAB) convention in Las Vegas and was struck by a story shared by keynote speaker Steven Dubner, co-author of Freakonomics. It was one of those “eureka!” moments for me that solidified so much of what our clients across licensing verticals are trying to do: predict the future. According to Dubner, at the turn of the century “there were air pollution and toxic emissions issues that threatened to endanger the environment as well as individuals’ health.” Back then, horses were the primary means of transportation in cities, and each produced nearly 25 pounds of manure per day. For cities like New York, with 200,000 horses, 5 million pounds of manure daily represented a real danger. After a host of options were considered, including creative horse breeding, no feasible solution was in sight... until the invention of the combustion engine and the automobile. The New York Times referred to the car as the “environmental savior.” The lesson here, according to Dubner, is that solutions to problems come from unexpected sources, and rarely from the industry that is the source of the problem. “One big mark of our arrogance is our belief in our ability to predict the future,” Dubner says.
Predictions Are Usually False
This story was shared with broadcasters to dispel fears of a broadcasting doomsday, and to show it may be much further away, or completely non-existent. Trying to predict what may or may not happen will only prove once again that mankind has been repeatedly inaccurate with its hypotheses about the future. Remember George Bernard Shaw, who predicted we’d work a two-hour day by the year 2000? Or other
64
Fall 2012
predictions that some of us would actually be paid not to work? Or Time magazine’s prediction in 1966 that “remote shopping, while entirely feasible, will flop because women like to get out of the house, like to handle merchandise, like to be able to change their minds?” Most brands would never have seen the light of day if “remote” shopping had not continued. Online sales alone are projected to reach $327 billion by 2016, according to Forrester Research. Truthfully, none of us can predict the future, scientifically or otherwise. We can, however, prepare for it.
React Quickly to Change
While we’ve seen a lot of disruptive change to the core of the licensing industry during the past decade, what we know for sure is that successful companies are those that have the ability to react quickly when change happens. In licensing, that has meant directto-retail licensing, digital exploitation of brands, and the elimination of traditional gatekeepers. Timely access to information has become a necessity, not just a convenience. Brands are competing for the same dollars with a huge increase in the volume of transactions that each participant has been forced to deal with. As the margins decrease and complexity brought on by new distribution channels and formats have become commonplace, the ability to increase one’s workforce has been stifled. According to an International Labor Organization forecast, more than 200 million workers will be unemployed in 2012. The United Nations agency estimated that 50 million jobs had been wiped out since the 2008 financial crisis. The only way to properly manage licensing as we know it today, while preparing for licensing as it may be in the future, is to leverage technology and current resources.
Learn from History
Being the CEO of a software company that is in the business of managing contract rights for both licensors and licensees gives me a unique perspective on the industry. Counterpoint supports a broad range of companies in this space. Instead of predicting fluctuations in consumer buying for one brand, we’ve had the advantage of seeing patterns across many companies and industries during our 25-year history, including music, media, entertainment, and consumer brand licensing. If history has taught us anything, it’s that the more flexible our systems are, the better. The days of managing contracts using hard-coded systems, antiquated databases, and spreadsheets are over. The process is just too unyielding and difficult to manage for an industry that has to be reactive to multiple partnerships across territories, platforms, and languages.
Expand the Brand
Take for example, Random House. Known for decades as a giant in the trade book publishing industry, it has now begun its foray into television, licensing, merchandising, gaming, and live events under Bertelsmann AG. Random House analyzed its library of rich content and discovered the potential of exploiting it across platforms using technology that was previously unavailable—and Random House isn’t alone. Hasbro, the mastermind behind Transformers, has developed into a self-described “immersive entertainment” company, providing the public with television programming, motion pictures, digital gaming, and countless licensing opportunities, in addition to toys and games. No longer is a book publisher just printing books, or a toy company making board games. Leveraging the content owned or licensed for one format and distributing it widely across new and emerging platforms is the future, and companies like these have the foresight to see their brands expand.
Utilize Modern Technology
Recent history has also taught us that communication is key. The use of online portals for licensees
to report sales activity and royalty earnings is becoming more common, and product approvals are nearly all managed digitally in an online environment today. Ours is, after all, a digital society, and making information more accessible and possible is what allows us to communicate more efficiently and effectively. Our society has become all too familiar with using instantaneous communications tools. Instant messaging and email have all but replaced traditional snail mail, and applications like Skype and Facetime are replacing the telephone, with added benefits of free calls and visual contact. The days of waiting for anything to be sent are gone, or at the very least, the expected time to delivery has decreased significantly. In the licensing industry, time to market is critical, as is utilizing modern communication tools. The proliferation of partners has made it necessary to communicate regularly and systematically to ensure nothing slips through the cracks. One mistake can easily cost a company hundreds of thousands in revenue, legal fees, and brand value. Conversely, licensees who commence large-scale manufacturing without the appropriate approvals may end up having unauthorized product, which would ultimately need to be destroyed at the licensee’s expense. Further, licensees could be left exposed if licensors take action due to the potential damage inflicted on their brand both in image and in revenue. Streamlining the administration of a licensing business requires the implementation of solid systems and processes that can allow it to react on a moment’s notice, not a crystal ball. While the licensing industry isn’t worried about the impact horses are having on the environment, it should be putting safeguards in place to avoid falling into its own pile of manure. ••••
Amos Biegun is the CEO of Counterpoint Systems, a provider of rights and royalties software for the media and entertainment, brand licensing, and music industries. For more information, visit www.counterp.com.
Fall 2012
65
Mayhem & Mishaps
I
Real Stories:
The Big Pitch
by Maureen McHale, CEO and chief creative officer of McHale Design, Inc.
n a competitive market it helps to have a dedicated team committed to your client’s success. Frequently, you’ll be working late. Sometimes, you’ll lose a little sleep. On rare occasions, you might even be lucky enough to work 35 hours straight. We receive a last-minute call from a client who needs help preparing an important licensing pitch. Previously, we created pitch decks that had won them high-profile projects, so they wanted more of the same. Fun fact of the day? The client is flying out the next evening, so the deck is needed ASAP. It’s already after 4 p.m., and the job involves working out of the client’s office, which is more than an hour away through Los Angeles rush hour traffic. Hello, Good Night By the time we arrive and are setting up workstations, we had clocked an eight-hour day. All around us, the staff is saying good night and heading home. Our mission: Take a plain, stat-filled presentation and make it sing with visual gusto. What we see is a document more than 100 slides long that needs layout, graphics, animation, and a zippy template. What we see is a long night ahead, so let’s get crackin’! Blackout
Did I just faint? Everything went black. It’s hours later, and all the lights are out. The office lighting has switched to energy conserving, motion-activated mode, and with no other souls present except
66
Fall 2012
our client and us, the cavernous room plunges into darkness. We reset the timer and resume work, noticing that it’s nearly midnight. No big deal, we’ve done latenighters before. At some point, your eyeballs will gloss over. Every now and then, look away from your monitor. Blink often. Moisturize. Repeat. Stand up and stretch. Stroll over to the water cooler. Grab a coffee.
Good Morning We are making steady progress when the same people we bade good night are arriving for their next day of work. For us, it’s the same day of work. We’re unshaven and bleary-eyed. Good Night, Again Unbelievably, eight hours later, we’re again saying good night to the same staff. We’ve been lapped, my friend. It’s about 9 p.m., and we’re walking to our cars. We’ve logged a marathon 35-hour day. With dynamic pitch deck in hand, our grateful and confident client is airport-bound while we drive off with a pretty good story for everyone back at the office. We’d love to hear your own Real Stories! Email your shareable stories to realstories@mchaledesign.com. ••••
Maureen McHale is CEO and Chief Creative Officer of McHale Design, Inc., a branding and design agency specializing in style guides, toy and home entertainment packaging, and interactive design. Contact McHale Design at www.mchaledesign.com or call (562) 498-6717.
Of Counsel
Representation and Warranties
Licensing 101, Part 66 by James Kipling
(This article is No. 66 in a seriesThe extent of the licensee’s burden under these devoted to the documentation of the obligations can vary widely from one agreement to licensing relationship and elements of and circumspect licensees recognize the the next, a typical license agreement.) need to pay close attention not only to the specific n automobile purchaser would exhibit poor language of their required undertakings, but also to judgment if he paid the purchase price with- the severity of penalties for failure to conform. In out receiving an appropriately formalized some agreements, seemingly insignificant warranties transfer of title, and the seller would not be wise to can carry the “death penalty” of termination of the transfer the title without having payment in hand. license and forfeiture of guaranteed royalties in the The representations and warrantees made by each event of any violation, whether material or otherparty in a license agreement can be far more signifi- wise. Licensors’ agreements also may include specicant, financially and otherwise. Nevertheless, they fied liquidated damage provisions, often imposing a may well be overlooked because they are often writ- hefty fine in the event of any deviation by the ten in language that causes eyes to glaze over. licensee.
A
Licensee Obligations
Many licensor-generated agreements require the licensee to warrant that it will not attack the title of the licensor to the property or to any patent, copyright, or trademark pertaining to the property. Similarly, the licensee is usually required to assure that it will not harm, misuse, or bring disrepute to the property in any fashion, nor will it deal with the licensed products other than ethically and in compliance with applicable laws and regulations. Licensees are asked to assure that they will adhere to territorial and distribution channel restrictions, and that their own manufacturing facilities and those of any vendors are operated in compliance with local labor laws supplemented by any additional requirements that may be imposed by the licensor.
68
Fall 2012
Licensor Undertakings
Perhaps not surprisingly, licensor-generated agreements seldom make far-reaching assurances on the licensor’s own behalf. Those representations that are provided may be limited to statements that the licensor has “the right to enter this agreement” (which is more an assurance of licensors having corporate authority to enter contracts in general, than that it has sufficient rights in the property). The licensor may also include a statement that its entering this particular agreement will not violate its own agreements with third parties, to the extent that this adds any substance. This sparse comfort may be coupled with a statement that the licensor’s obligations apply “to the extent that the property is owned or controlled” by the licensor. A licensee might read this as
an assurance that they are being granted the license to the fullest extent possible when, in fact, the quoted words operate as a quitclaim. Would a buyer readily pay a few thousand dollars for an automobile if the transfer of title were qualified by a thought such as, “If I actually own the car, I’m transferring absolutely all of my rights to you”? Very doubtful. Yet these sorts of provisions appear in license agreements worth many times the value of a car and often go unquestioned.
Reasons for Caution
Clearly, the licensee should seek assurance that the licensor does, in fact, own or control all rights in the property that is being licensed and that the licensor’s ownership or control is sufficient to support any grant of exclusivity being made. Representations (and indemnifications) should also be included, stating the licensee’s use of the property—as authorized under the agreement and as approved by the licensor—will not infringe third-party rights or result in adverse claims. Without these elements, the licensee has no assurance that it can market the licensed products without being at risk of claims originating with the property itself, or that another licensee won’t market directly competitive products using the property emanating from a legitimate third-party source. If the licensee is planning to use the likenesses of actors from a property comprising licensed motion picture or other audio-visual work, it needs assurance that the licensor can convey those rights as well. Otherwise, it may have to defend claims made by the actors or their unions based on the licensee’s uses of the likenesses in its products or advertising. Similarly, if an automobile or other prop from the film is to be an element of its product line, the licensee must assure that the licensor has given a warranty that the product placement deal with the automobile manufacturer conveys rights for merchandising uses. Without this, the licensee might face a claim from yet
another quarter for which it finds itself on its own. In a corporate brand license, does the licensor assure that it has taken all of the steps necessary to procure trademark protection for the brand in the licensed product categories? If there is no trademark registration already in place that is applicable to each of the pertinent product categories, has the licensor filed “Intent to Use” applications in the U.S. and applications to register the mark in other countries of the licensed territory? What representations and warranties is it willing to put into the licensing agreement to ensure that it has the necessary rights?
Pinning It Down
Efforts to incorporate such pertinent assurances by licensors into agreements often meet resistance. Licensors may resort to arguments such as: “We are granting you absolutely all the rights that we have; we’re not holding anything back.” If the licensee is paying for the right to use the property in its product line, should it accept such a weak assurance? Stay tuned. ••••
James Kipling has represented licensors and licensees for more than 20 years, negotiating entertainment, sports, artwork, brand, invention, and technology agreements. He is Of Counsel with Dinsmore & Shohl LLP in Cincinnati, Ohio, and can be reached at (513) 977-8536, or jim.kipling@dinsmore.com. Copyright: ©2012 James M. Kipling. All rights reserved.
Fall 2012
69
Directory of Properties, Products and Services
THE LICENSING BOOK, Fall 2012 “THE LICENSING BOOK” (ISSN-0741-0107) is published quarterly by Adventure Publishing Group, Inc.®, 307 Seventh Ave., Room 1601, New York, New York, 10001. Periodicals postage paid at New York, NY 10001 and additional mailing offices. © 2012 Adventure Publishing Group, Inc ®. All rights reserved. No part of this publication may be reproduced or transmitted in any form, or by any means, electronic or mechanical, including photocopying, recording any information storage and retrieval system, without permission in writing from the publisher. Printed in U.S.A. Subscription rates: $48 per year. THE LICENSING BOOK, THE LICENSING BOOK INTERNATIONAL, WORLDWIDE LICENSING and the “WLE” design, are trademarks and service marks of Adventure Publishing Group, Inc.® registered in the United States Patent & Trademark Office Postmaster: Send address changes to THE LICENSING BOOK, c/o Adventure Publishing Group, PO Box 47703 Plymouth, MN 55447.
41 Entertainment .....................................................................................................................................................................................6, 7 Adventure Publishing Group .......................................................................................................................................................................57 BBC Worldwide .......................................................................................................................................................................................1, 2 BioWorld...................................................................................................................................................................................................43 Coca Cola.................................................................................................................................................................................................21 Dissero Brands.........................................................................................................................................................................33, 37, 41, 45 Eddie Bauer...............................................................................................................................................................................................35 Entertainment One Family...........................................................................................................................................................................31 Gateway Licensing.....................................................................................................................................................................................70 GM Licensing ............................................................................................................................................................................................70 Harris Sachs ..............................................................................................................................................................................................70 Kids Global ...............................................................................................................................................................................................61 Nerd Corps ...............................................................................................................................................................................................51 NPD .........................................................................................................................................................................................................67 Saban Brands..........................................................................................................................................................................................4, 5 Sakar........................................................................................................................................................................................................15 Skechers....................................................................................................................................................................................................71 Sony .........................................................................................................................................................................................................72 Sun-Mate Corporation..................................................................................................................................................................................9 Zinkia Entertainment ..................................................................................................................................................................................39 Zodiak Kids ...............................................................................................................................................................................................27
70
Fall 2012