The global licensing community is powered by an incredible group of professionals whose diverse backgrounds and creative energy drive innovation and excellence. Each week we profile one of these professionals in this ongoing series.

How did you get into licensing (or how did licensing find you)?
Licensing definitely found me. My master’s thesis focused on artists’ rights in the United States from 1990-2010 and, shortly after, the Artists Rights Society happened to be hiring. I feel fortunate to be in a role that lives at the intersection of art, law, and commerce—a space that constantly inspires.

What’s a “typical” day in your current position?
No two days really look the same, but our week always starts with a team meeting. Each week I ask everyone to share a “pie-in-the-sky” brainstorm idea—just to get us thinking creatively. A Shake Shack collaboration with Wayne Thiebaud? Maybe one day! Beyond that, it’s a mix of project management and outreach, whether that’s walking a trade show floor looking for new partners or meeting with our artists to better understand their work and where it could resonate next.

What’s your biggest personal or professional accomplishment?
On a personal level, raising three kids in New York City feels like a major accomplishment. It’s not easy and it has its ups and downs, but I wouldn’t trade it for anything. Professionally, my biggest accomplishment is my team. They have worked hard to build trust with our artists, allowing us to take risks and grow their licensing programs.

What are the most significant trends or changes that you’ve seen in the business in recent years?
The rise of the “kidult” category has been fascinating—collectibles that live somewhere between toy and art object. It’s a space where nostalgia, design, and fine art sensibilities really intersect. On an art level, consumers still resonate with the big-name, blue-chip artists—Matisse, Dalí, and Kahlo are household names for a reason!

What keeps you up at night? What’s your biggest challenge these days?
I’m always thinking about who the next generation of defining artists will be. Who is the next Matisse, Dalí, or Kahlo? With so many contemporary artists working today, I’m excited to see who ultimately makes it into the textbooks and becomes a household name across the globe.

In your opinion, what is the top skill every licensing executive should have in order to succeed?
Clear communication skills and approachability. Whether it’s negotiations, contract terms, or design review, being able to communicate clearly and consistently is an absolute essential.

What’s the best piece of advice you’ve ever received, or what’s your favorite quote? “We’re not saving lives.” We’re incredibly fortunate to work with extraordinary artists, and the work should be enjoyable. There’s no problem we can’t work through—life is stressful enough.

What is your favorite licensing deal of all time? (It doesn’t have to be one signed by you.)
I’m not sure if this is my favorite of all time but I’m especially proud of the Ulla Johnson x Lee Krasner collection. I had wanted to bring together a collaboration with Ulla Johnson for a long time, and the Pollock-Krasner Foundation is understandably very selective in what they approve. The collection came together beautifully, the runway show was incredible, and it’s exactly the kind of organic collaboration we can point to as a benchmark—one that truly honored both the artist and the brand.

If you weren’t in licensing, what would you be doing now?
Something in the arts. Before licensing, I worked as an art advisor for corporate offices, so I could easily see myself building on that, or perhaps managing an artist’s studio.

The last licensed product I bought was…
A 12-pack of Paw Patrol toddler briefs—purchased in hopes of potty-training my three-year-old!