products they like; in others, it works the other way around. There are also licensing agencies that serve as connectors between the two parties. Contracts vary as far as exclusivity goes, but you’re unlikely to see the same art on products that compete head to head in the same region. Licensing benefi ts brands big and small.
Larger brands can increase their reach and capitalize on having their name, logo, or design on a wider range of items, while for the independent artist, it offers a chance for his or her artwork to be seen far and wide, created by a sophisticated manufacturing process that a solo artist couldn’t replicate. Such is the case for Joanna Alberti, creator of philoSophie’s, a line of stationery and custom products. “Licensed products give opportunities to artists to showcase their work that otherwise would not have that opportunity to be on a gift product or be in a national market,” she says. “As a small business, I work with bigger manufacturers so I can make products that are quality and at a price point that people can buy.” Alberti also owns a retail store in Spencerport, NY, where
she tests out her designs and shows her work on items such as cards, mugs, tote bags, and iPhone cases. She currently licenses to Leanin’ Tree and Recycled Paper Greetings, and is testing a candle line with another manufacturer. On the manufacturing side, it allows companies to add to the product mix they already produce. “Our licensing partners do an unbelievable job in supplying us with their latest and greatest works,” says Sandra Pryor, new products manager for Manual, which offers licensed items in all the products they make domestically, including throws, wall décor, pillows, and tabletop. “We collaborate with our customers and sales team, as well as keep abreast of trends, to then determine what art we select.” The
challenge manufacturer for a sometimes buMKins
lies in taking that brand or design and seamlessly adding it to a new product. “One of the things we’re really good at is understanding the artist’s brand or vision and being able to translate it into our product,” says Betsy Ferg,
THe MADison PArK grouP / cHeeZburger
burTon + burTon
VP of product development and creative at C.R. Gibson. “That’s a sign of successful licensee, when you can understand an artist’s look or brand so well that it looks like it’s all coming from the same place. Then you’re really honoring that brand.” Sometimes licensed items can become synonymous with
a company, too. When people think of burton + BURTON, they’re likely to think of the pieces from Carla Grogan, whose line of inspirational products has a distinctive aesthetic. While burton + BURTON creates most of their products
with in-house artists, they do a little bit of outside licensing as well. “Typically we’ll go out and fi nd an artist if we’re looking for a particular look or style, but we have had artists approach us and work with us,” says Steve Rose, marketing and communications coordinator for the wholesale supplier. “It gives us an opportunity to access artists that are outside the style of our in-house artists.”
GiftShopMag.com Winter 2013 n GIFT SHOP 117
Page 1 |
Page 2 |
Page 3 |
Page 4 |
Page 5 |
Page 6 |
Page 7 |
Page 8 |
Page 9 |
Page 10 |
Page 11 |
Page 12 |
Page 13 |
Page 14 |
Page 15 |
Page 16 |
Page 17 |
Page 18 |
Page 19 |
Page 20 |
Page 21 |
Page 22 |
Page 23 |
Page 24 |
Page 25 |
Page 26 |
Page 27 |
Page 28 |
Page 29 |
Page 30 |
Page 31 |
Page 32 |
Page 33 |
Page 34 |
Page 35 |
Page 36 |
Page 37 |
Page 38 |
Page 39 |
Page 40 |
Page 41 |
Page 42 |
Page 43 |
Page 44 |
Page 45 |
Page 46 |
Page 47 |
Page 48 |
Page 49 |
Page 50 |
Page 51 |
Page 52 |
Page 53 |
Page 54 |
Page 55 |
Page 56 |
Page 57 |
Page 58 |
Page 59 |
Page 60 |
Page 61 |
Page 62 |
Page 63 |
Page 64 |
Page 65 |
Page 66 |
Page 67 |
Page 68 |
Page 69 |
Page 70 |
Page 71 |
Page 72 |
Page 73 |
Page 74 |
Page 75 |
Page 76 |
Page 77 |
Page 78 |
Page 79 |
Page 80 |
Page 81 |
Page 82 |
Page 83 |
Page 84 |
Page 85 |
Page 86 |
Page 87 |
Page 88 |
Page 89 |
Page 90 |
Page 91 |
Page 92 |
Page 93 |
Page 94 |
Page 95 |
Page 96 |
Page 97 |
Page 98 |
Page 99 |
Page 100 |
Page 101 |
Page 102 |
Page 103 |
Page 104 |
Page 105 |
Page 106 |
Page 107 |
Page 108 |
Page 109 |
Page 110 |
Page 111 |
Page 112 |
Page 113 |
Page 114 |
Page 115 |
Page 116 |
Page 117 |
Page 118 |
Page 119 |
Page 120 |
Page 121 |
Page 122 |
Page 123 |
Page 124 |
Page 125 |
Page 126 |
Page 127 |
Page 128 |
Page 129 |
Page 130 |
Page 131 |
Page 132 |
Page 133 |
Page 134 |
Page 135 |
Page 136 |
Page 137 |
Page 138 |
Page 139 |
Page 140 |
Page 141 |
Page 142 |
Page 143 |
Page 144 |
Page 145 |
Page 146 |
Page 147 |
Page 148 |
Page 149 |
Page 150 |
Page 151 |
Page 152 |
Page 153 |
Page 154 |
Page 155 |
Page 156 |
Page 157 |
Page 158 |
Page 159 |
Page 160 |
Page 161 |
Page 162 |
Page 163 |
Page 164 |
Page 165 |
Page 166 |
Page 167 |
Page 168 |
Page 169 |
Page 170 |
Page 171 |
Page 172 |
Page 173 |
Page 174 |
Page 175 |
Page 176 |
Page 177 |
Page 178 |
Page 179 |
Page 180