We argued that characters provide instant familiarity, deep emotional connection, and a proven commercial upside. Four years on, the thesis has aged well. What hasn’t changed is the industry’s general hesitancy to fully embrace it.
Yes, we’ve seen some incredible examples since then. Two campaigns in particular that we worked on, ASDA’s Buddy the Elf and Sainsbury’s BFG, stand out as gold standards for what’s possible when brands invest in beloved characters. But they also reinforce the bigger issue: if these campaigns worked so well, why haven’t more brands followed suit?
When ASDA brought Buddy the Elf into their 2022 Christmas campaign, it was the first time the character had ever appeared in UK advertising. The campaign used footage from the original Elf film, brought to life with seamless VFX and clever storytelling. And it wasn’t just a nostalgic gimmick - it was a strategic, high-impact success.
This campaign proved what we’ve long believed: when done right, character-driven advertising isn’t just creative, it’s commercially powerful.
In 2024, Sainsbury’s joined the character club with their Christmas campaign starring Roald Dahl’s Big Friendly Giant. The result? Their most successful Christmas campaign in years.
It was a clever creative decision, yes - but also a clear commercial one. Like Buddy, the BFG offered instant emotional shorthand, and the public responded.
These campaigns prove the thesis from our white paper: character IP works. It boosts recall, drives sales, and creates emotional resonance. But despite these high-profile wins, we’re still not seeing widespread adoption – in our white paper, we estimated that only about 1% of UK advertising features fictional characters. The industry’s broader approach to character licensing remains mostly untouched when compared to other strategies such as hiring a celebrity, a musician or a sports star, even though 38% of the general public prefer to see characters in ads, as opposed to 22% for musicians and celebrities, and 18% for sports stars. Too many brands are still defaulting to celebrities, missing the emotional punch that iconic characters offer. And strategic planning is lacking, with advertisers and their agencies often look at character IP too late in the creative process, limiting their options.
We’re doubling down on our original message: character IP should be seen not as a novelty, but as a serious creative and commercial tool. And for brands ready to embrace it, here’s our advice:
We still believe in the case we made in 2021. We believe even more strongly now. We have more data and more cultural moments to prove it. The success of Buddy and the BFG isn’t anecdotal; it’s evidence. Brands that embrace characters win hearts, headlines, and market share. And those that don’t? They’re missing out.
So here’s our call to the industry: it’s time to stop treating character IP as a quirky creative detour. It’s time to put it where it belongs - at the heart of your biggest, boldest campaigns.
Read more from Born Licensing here.