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TOTAL LICENSING
ploited properties in a much broader UK that comes from the scale of the Wombles and Paddington. But Teletub-
way. The number of IP being produced USA”. bies was something completely differ-
in the US every year and then mar- ent”.
keted with very high budgets through-
Looking back over the
out the world is very high, but whilst
last few years, which
Angela Farrugia: “Charlie and Lola,
there are a lot of US licenses in the
British properties do
Thomas the tank Engine/ Teletubbies/
UK market, there is a large number of
you feel have been
Harry Potter/ The Lord of the Rings/
own properties which are very suc-
groundbreaking or have
In the Night Garden”
cessfully licensed in addition to other
international properties like i.e. Hello
made a significant
Stephen Gould: “There are many in-
Kitty. I believe there is a healthy paral-
contribution to the
deed and some of these include Bang
lel marketing of any sort of licenses:
marketplace? If so, why?
on the Door, Bob the Builder, Withit,
the success though is dependent on Teletubbies, In the Night Garden, Man-
the marketing and sales strategy and
Sean Clarke: “I would have to say
chester United, Burberry and Mr Bean.
the level of support at retail.”
Dr Who, in that it has proven you can
As the latter will indicate, the British
create a series that plays on all levels
forte within the licensing sector lies
Vickie O’Mally: “I don’t think Brit-
and is a great family viewing experi-
with pre-school and art & design gen-
ain necessarily follows the US but we
ence and, of course hugely succesful
res including in this instance for rather
can sometimes be swept along by the
ancillarires programme behind it. For
more simplistic analogy corporate
sheer power and presence of US cor-
a few years, the preschool market
brands. Our lineage is steeped in cen-
porations and properties. That’s not
has been dominated by two or three
turies of story telling and in terms of
necessarily a bad thing either, some
properties, and then along came In the
quality per se, the UK has led the world
of the most magnificent and inspiring
Night Garden and proved that new
in creative content and especially so
properties have come from the US. We
preschool shows can break through”.
in the pre-school arena. Culturally, we
also lead the way very often, the UK are innately predisposed to this genre
was the trailblazer when it comes to
Ciarán Coyle: “Jaguar, the British
and with “silver spoon” broadcast
retail marketing and we’re the home
luxury automobile brand, has success-
platforms like CBeebies falling under
to many globally renowned characters
fully extended its brand positioning to
the auspices of the BBC Constitution,
and have filled Hollywood with British
become a global British luxury brand.
the non-competitive element inherent
acting, animation and production tal-
Through licensing, Jaguar has taken its
with the latter has allowed and indeed
ent too”.
distinctive brand equity and innovative
encouraged rather more high-end
design to create products in luxury
production values. In particular stop-
Clare Piggot: “When it comes to
categories such as fragrance, writing
frame and 3D CGI as opposed to the
blockbuster movies that have day
instruments, eyewear and high-end
much more economical 2D or Flash
and date global releases, yes, we are
men’s apparel. All Jaguar licensed
so readily available elsewhere and in
following what the US is doing. But
products carry key design elements
particular North America. Without
that’s not the whole story. We have a
from the Jaguar vehicles, making them
doubt, the UK leads the world with
strong feel for local themes. Things still
authentic and credible brand exten-
pre-schol initiatives and there is little
resonate for us that don’t for the US.
sions.
sign that this will change in the imme-
There are in fact other markets much
British brands that have filled a bur-
diate future. The UK is also catching up
more inclined to mirror what the US
geoning market trend have also seen
with mainland Europe and indeed Asia
does: Australia is an example”.
success at retail. I can think of the
in terms of its penchant for lifestyle
V&A’s creative use of its rich archive
brands – whether celebrity, corporate,
Claire Shaw: “Slight exaggeration of
to create hand and garden tools for
or art & design. The latter is one sec-
the actual facts. The brits are leading
women. V&A spotted a gap in the
tor we have really embraced over the
the pack alongside our US counter-
market for attractively designed hand
last 5 or 6 years in particular and as
parts. Tinga Tinga Tales is a good ex-
tools to target female consumers
children grow older younger, there is
ample of where the creative and pro-
(who also happen to be the main pur-
every reason to believe that this trend
duction output is being driven out of
chase decision-makers), and identified
will very much continue unabated”.
the UK, but at the same time has been
the right designs to create these pro-
successfully sold into the US”.
prietary products”.
Richard Hollis: “Of course we’d
highlight Teletubbies – truly a global
Anthony Temple: “I think it would
Nicholas Durbridge: “Anne Wood’s
brand and the inspiration for a whole
be fairer to say that it is two-way traf-
Teletubbies and In the Night Garden
new era of children’s television. I’m
fic. In Television the UK are “net”
stand out from the rest. Anne is an
a big admirer of Aardman animation
exporters of pre-school, but in older
incredible original thinker. Bob the
too – Wallace and Gromit, and more
kids programming we import. But no-
Builder, in many ways, followed a for-
recently Shaun the Sheep show that
one can ignore the influence on the
mula established in the 1960s with the
great characters can be visually simple
119
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