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TOTAL LICENSING
how National Gallery branded mer-
Kate Barker who until recently was Business Development & Merchandise
chandise can convey the qualities of
Director at The National Gallery in London offers some insight into the
tradition and heritage, without being
dynamics of the sector:
predictable or stuffy. Using detailed
“So, why on earth would a museum or gallery venture into the uncharted
market knowledge to ensure the de-
territory of brand licensing, pitting itself against major players of the sports
signs were pitched correctly for the
and entertainment sectors?
target audiences, we used the brand
Well, until last year I was Business Development & Merchandise Director at
to create a bridge between the Na-
the National Gallery Company (the trading arm of the National Gallery in
tional Gallery and the audiences they
London) where we did just that – develop a licensing strategy and launch
want to attract.”
the brand to the market.
“The inspiration for the central brand
And why? The key driver, of course, was income – the potential to generate
motif was derived, not from the gal-
new, substantial and sustainable revenue streams, which are so vital to the
lery’s collections, but from its build-
heritage sector. But equally important was the opportunity to create a new
ing’s architectural detail – helping to
communication platform to reach both visitor and non-visitor consumer
encapsulate and convey something of
groups via external retail, by developing premium products and commercial
the experience of a visit to the gallery
partnerships.
to consumers who might not have vis-
Licensing of course can be an attractive proposition for licensors, with con-
ited it yet.”
trolled risk and investment. Nonetheless, at the gallery we recognised the
One of the characteristics of heritage
importance of up-front investment to really unlock the opportunity.
licensing that clearly shows the poten-
We began with detailed analysis of the market place, identifying target con-
tial for further growth is the diversity
sumers, categories and partners. And we commissioned licensing specialists
of licensing categories that are using
Red Central to develop creative tools to enable us to engage new partners
heritage licenses and the spread of
with confidence and authority – a dynamic brand presenter and a style guide
licensees involved.
providing guidance and inspiration.
A good example of this is the licens-
A year or so on, the gallery has a growing number of licensees on board, and
ing programme associated with the
new licensed products successfully launched at the Spring Fair. And looking
Royal Horticultural Society (RHS).
back over these foundation stages, there have been some key learnings –
They have over 50 licensees rang-
Don’t assume licensees or retailers know your brand, even if they recognise
ing from seed company Thompson
your name. It is essential to be able to articulate your brand vision, values
& Morgan through to Hunter Boots.
and ambitions to potential partners, and to ensure that your licensing strat-
They also cover specialist areas such
egy is aligned with the institutional objectives
as specially themed holidays and have
Seek licensees where your brand adds a new dimension to their portfolio
recently developed new initiatives
and, conversely, work with licensees who will be able to consistently deliver
such as a licensed range developed by
quality to match consumers’ brand expectations
Ulster Weavers that is sold exclusive-
Prioritise product categories where the brand really comes alive and adds
ly through The National Trust‘s own
real value
shops. Here the key seems to be a
Be prepared to invest and develop the tools which will put you in the best
focused management approach, good
possible position to sell your brand and assets
quality design materials, clear commu-
Finally, focus on the consumer ensuring that, as you build brand recognition
nication to and from licensees plus an
and loyalty, you always deliver on the brand promise.”
ongoing marketing programme. Clear-
Kate Barker is now an independent business development consultant work-
ly the RHS has a number of high pro-
ing in the heritage sector.
file events throughout the year and is
Kate.modern@mac.com
also able to communicate new devel-
age, as well as to interpret and articu- brand owner’s role. Whilst protecting opments to its core membership. This
late it to engage and inspire the public. the unique experience of the brand, will undoubtedly help stimulate activ-
Creating a defined retail and licensing it makes it accessible to a much wid- ity but for the RHS to keep evolving
proposition is a natural extension of a er audience. Red Central created a their commercial activities they need
style guide and sizzler piece to develop partnerships that reach
that enabled the National new audiences but also materials that
Gallery to overcome pre- are appropriate to a wider base of li-
conceived perceptions and censees.
present the full range of its Interestingly there are a number of
brand’s market possibilities new entrants to the heritage licens-
to potential partners.” ing market that also point to potential
“The visual architecture – growth areas. A good example being
including motifs and pack- IMG’s management of the Royal Navy
aging examples - that Red licensing programme. Whilst much of
Central created help show this focuses on today’s Navy (for ex-
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