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)?
I got my foot in the door via my first job with Sony Music. I didn’t know what licensing was but was excited to be in the music industry. I was licensing music for third party uses when, after handling a few deals for merchandise, my eyes were opened to the world of brand licensing. From there I discovered the role of the licensing agent and moved over to a small, boutique agency where I was representing the likes of Transport for London and The British Museum.

What’s a “typical” day in your current position?
Whilst working across Global’s enviable client list from legendary metal bands to global pop acts, I’m also working to build a new lifestyle department within Global’s framework. So, my day is truly varied—from brand acquisition and strategy to deal making, new pitches, and category exploration.

What’s your biggest personal or professional accomplishment?
A standout project for me was the Minecraft Burberry collaboration I helped put together whilst with CAA. It was an exciting process seeing two leaders of industry coming together and cross-collaborating. It was an award-winning global project from in-store and in-game activations to OOH promotion, a charitable element, and, of course, beautiful Minecraft-inspired Burberry product.

What are the most significant trends or changes that you’ve seen in the business in recent years?
The shifting high street and the consolidation of brand owners is a significant change I’ve noticed. With fewer outlets and fewer decision makers, the need to evolve and find new opportunities for our properties is more important than ever

What keeps you up at night? What’s your biggest challenge these days?
Although music can be somewhat resistant, you can’t help but be aware of macro factors such as incoming tariffs and ongoing cost-of-living pressures. The challenge is to balance the commercial expectations between our licensors and our licensees.

In your opinion, what is the top skill every licensing executive should have in order to succeed?
Resilience. In this industry, you must be resilient to keep the metaphorical phone ringing. This is even more important when your role is between both licensee and licensor. There are multiple stakeholders involved with any one partnership, and there will be daily knock backs, but resilience is what will help you innovate and find those opportunities.

What’s the best piece of advice you’ve ever received, or what’s your favorite quote?
My favourite is Churchill’s quote “success consists of going from failure to failure without loss of enthusiasm.” Very apt advice for the changing landscape of the licensing business.

What is your favorite licensing deal of all time? (It doesn’t have to be one that was signed by you.)
I gravitate towards those natural brand extensions where you don’t need to question the logic behind it. For me, the Iron Maiden Trooper Beer range is a great example of that. The Trooper beer has been cleverly linked to the band and their touring activity, and the fans know the band’s involvement with and passion for the beer. 

If you weren’t in licensing, what would you be doing now?
I’m lucky enough to work with some of the most talented artists and, if I wasn’t in the licensing space, I would like to still be working with artists in some capacity.

The last licensed product I bought was…
The KAWS + Warhol socks from Uniqlo! You can never have enough socks.