“Our vision is to extend the brand’s impact beyond greeting cards”: Stuart Cox on brand plans for Brilliantly Brave

Stuart, before we delve into your newly launched Brilliantly Brave brand, can you give us a potted history of your design career to date?
My career in design has been quite the zigzag. I started with an Art & Design Foundation course in the early Nineties, but the pace wasn’t for me. So, I did a Design History degree at Brighton, which allowed me to express my creativity through ideas and writing. After uni, I bounced around a bit – tutoring, sales, even setting up a web design business… Somewhere in the middle of that I also managed to spend three years homeless.

Things turned around when I landed a job teaching design and branding in social care projects up here in the north of Scotland. That was a game-changer… 15 years of talking about design, illustration and helping people turn their dreams into reality. It really opened my eyes to design’s power to create positive change, and spending every day working on problem solving; going deep into the tools of the job gave me a great foundation.

Now, I’ve shifted gears again. I’m currently the Design and Digital Development Co-ordinator for Health and Social Care. It’s been a non-linear journey, but each step has shaped my approach and led me to where I am today. And 10 years ago, I launched I Like Birds as a side hustle…

“We’re transforming well-wishes into wellbeing, one card, one course, one life at a time.”

Yes, and I Like Birds has enjoyed success in the licensing market. Can you tell us about that brand?
I stumbled into it quite randomly. It started with some bird illustrations I created for my mum as an “everything’s fine” symbol after a chaotic period in my life. However, she fell ill and never saw them. They ended up in a drawer, but years later, a friend found them and suggested I turn them into cards to sell at a local cafe.

Within a month, we’d sold over a thousand, and caught the attention of retailers like Johnstons of Elgin and Paperchase. The card business grew, and I started getting asked for mugs, cushions and so on, but I didn’t know where to start… Then Tracey Bearton from Progressive Greetings suggested I enter License This. I made the final and managed to snag Jane Evans as my licensing agent.

The brand has since enjoyed considerable success and I’ve been fortunate to work with some quite amazing licensees who have taken the brand as far-flung as Iceland and even the Falklands. I’ve been a finalist nine times at The B&LLAs – though I’ve never won! – and even had the privilege of being a judge for License This! at BLE, coming full circle from when I first entered the competition.

Amazing. And have you learnt any valuable lessons about the licensing industry through all that?
There are way too many licensing lessons I’ve learned, as it’s one of those industries that you don’t really understand until you’re actually in it. But there are a couple that are probably useful to share…

Firstly, the importance of having a skilled and understanding agent. They’re the hidden heroes of licensing, equal partners in the creative process of expanding your brand, and key players in shaping the high street and our daily lives. Jane Evans of JELC was instrumental in my early success, offering not just opportunities but wisdom, guidance and a lot of grace and kindness.

A skilful licensing agent isn’t just there to sign deals and collect royalties – they provide reassurance, strategy, advocacy and drive everything forward with clarity for licensees and the market. They should love your brand, be your greatest believer, a superb listener, but you also need to click personally. A great agent can also change your thinking and all of it feeds back into and shapes your core products. As a small brand they’re a must have as they’re the point where professionalism, expertise and creative clarity can create real impact.

“We’re transforming well-wishes into wellbeing, one card, one course, one life at a time.”

Alongside that is the power of good relationships generally. I’ve always aimed to work closely with licensees, often developing into genuine friendships that go beyond just business. It’s about understanding each other, being flexible when needed, but also gently pushing for solutions that benefit everyone. I believe in being intimately involved in the design process with licensees, as it speeds thing up and leads to better outcomes.

Good answer! Now, I first saw Brilliantly Brave at the PG Live Show. Can you tell us more about the ethos behind the brand and why you decided to launch it?
Brilliantly Brave publishes greeting cards but, as we say: “We’re not a greeting card company: Care and compassion are our business.” It’s a joint venture between myself and my partner Jean, who’s a mental health practitioner. Our ethos is simple yet powerful: we’re transforming well-wishes into wellbeing, one card, one course, one life at a time.

We design uplifting greeting cards that offer support during tough times, and channel 100% of our profits into community mental health initiatives such as training, coaching, peer-support groups and drop-ins. It’s a win-win model where each card does a double duty of care – once for the recipient and again for someone in the community you may never meet.

Why did we launch it? Well, it’s our way of addressing a growing crisis. Mental health challenges in the UK have increased by 70% over the past decade, while funding has dropped by £800m in real terms. We’ve seen firsthand the devastation caused when vital services lose funding, impacting not just individuals but their entire support network. That’s you, me and all of society.

For our customers, we offer something light and supportive when times are tough – a way to express care when mental health issues feel “heavy”. But for us, it’s about bridging that gap between gesture and impact. We’re committed to prioritising purpose over personal profit. Even in these early days, we’ve funded numerous one-to-one coaching sessions, mental health first aid courses, saved a peer-support group, and facilitated many other small acts with significant impact.

What does that look like in practice? 1,000 cards sold can fund a two-day mental health first aid training course for 16 people. It’s about creating a sustainable model for community support through everyday purchases. We’re not just making mental health “inspired” cards and pocketing the profits – we’re genuinely trying to make a tangible difference in mental wellbeing, one card at a time.

Fantastic – and there are different design strands to collection. What are different design elements and the stories behind them?
We’ve launched two rounds of collections so far – four in February and another four at PGLive in June. The designs are intentionally diverse, reflecting the specific intent of each range while offering variety in our line-up. Some of our ranges focus on general positivity and support, while others have a more targeted approach. For instance, we’ve two ranges that address the challenges of ADHD in a light-hearted but supportive and gently normalising way.

The common thread running through all of them is our core mission of supporting mental wellbeing in a way that feels authentic, approachable, and uplifting. Having a mental health professional on board means we’re committed to using ‘words that work’ – and often, they’re the simplest words of all.

Our design process is a bit of a balancing act. We aim to keep each range distinct while ensuring they can work together cohesively. With me handling all the design, there’s a simple and bold consistency across the collections. We’re really mindful of the power of design in this context. Each range is crafted not just to look good, but to genuinely resonate with people going through different experiences. It’s an ongoing process, and we’re constantly evolving our designs based on feedback and our growing understanding of what truly helps people.

You’re starting this journey with greetings cards. Why was that?
We started with greeting cards for a couple of reasons. Firstly, our “Well-wishes into Well-being” concept isn’t just a tagged on tagline – it’s at the core of what we do. Greeting cards are low-cost and familiar to consumers, making them an ideal medium for our supportive messaging. And the act of choosing, writing and giving a card is a great connector… Certainly more meaningful, impactful and longer lasting than sending a WhatsApp.

Secondly, it’s where I cut my teeth with I Like Birds, so I’m comfortable in the industry. Greeting cards are nearly perfect for starting a design or illustration brand. There aren’t significant barriers to entry – you just need design, printed paper, and envelopes. It allows you to test the market gently. As a visual medium, if you can successfully launch a brand in greeting cards, it offers a potential springboard into licensed products.

“We’re transforming well-wishes into wellbeing, one card, one course, one life at a time.”

And what makes a good greetings card?
Anything by us! Generally, I think a good card resonates on an emotional level and is symbolic of the relationship between sender and recipient. It’s the connection between you and me, expressed on paper.

Good answer! Now, you are hoping to develop Brilliantly Brave in licensing. How do you see this developing?
We’re incredibly excited about Brilliantly Brave’s potential in the licensing market. Our vision is to extend the brand’s impact beyond greeting cards, allowing us to spread our message of mental health support across a wider range of products, reach more people, and amplify our community impact.

The natural first step is calendars – they’re a logical extension for a greetings brand, and we’ve designed our ranges in sets of 12 with this in mind. From there, we can see certain ranges working well in stationery, homeware, and giftware. We’ve already developed concepts that illustrate how we’d adapt our messaging for different products. For instance, glasses cases with phrases like “I See You” or “Find Clarity Within” – a playful twist on our supportive messaging that fits the product.

While we can envision a more design-first approach for homeware, our core strength lies in the combination of beautiful illustration and relatable, supportive messaging. This, coupled with our ‘double-duty of support’ model – where each purchase supports both the recipient and someone in the community – offers a compelling brand platform across numerous categories.

Our ambition doesn’t stop there. We believe Brilliantly Brave has the potential to reach far and wide, helping to normalise conversations about mental health and wellbeing through everyday products. While we’re not looking to run before we can walk, we’re excited about the possibilities that licensing offers to expand our impact, further our mission and bring some fun, beautiful and meaningful products to market.

How have you prepared Brilliantly Brave so that it’s ready for licensing?
Firstly, we adopted a “Brand First” approach from the very start. Before even touching the graphics, we nailed down all the elements of brand-ness that would give us the best chance of success.

We figured out our whys, our values, what we stand for, our voice, our positioning – we even looked at where we sit on Maslow’s Hierarchy of Needs and what Jungian Archetypes we represented. Might sound like overkill, but that’s what happens when an academic/designer teams up with a mental health professional! This groundwork has given us a compelling, easy-to-understand proposition to place in front of the industry. It’s the hidden engine room of what we’re doing.

Secondly, we approached our design with “licensing ready” in mind from day one. It’s an extra layer to our cards – they’ve been designed with other products and extension possibilities in mind. Practically, this can mean keeping everything clean, transferable, extendable, and adaptable.

I learned the hard way with I Like Birds that not everything transfers easily to other products, and Photoshop really is your friend when it comes to seeing it before it’s real. But it’s more than just thinking: “This would look nice on a cushion.” We asked ourselves “How could this be licensed?” for each range before we even started designing. This approach gives us flexibility – whether it’s leaving enough latitude for the message to fit the medium, or designing cards with specific product categories in mind, be it gardening, soft toys or stationery.

Lastly, I’ve been lucky enough to have an insider’s view of the licensing industry through my experience with I Like Birds. I’ve made some fantastic connections, like yourself and Sarah Lawrence from This Is Iris. You’ve both been incredibly generous with your time, offering advice and encouragement. Having seasoned licensing professionals to talk things through has been invaluable in helping us refine our offering. I’ve spoken about the importance of having an effective licensing agent on board, and we’re hoping to have some more to say on that shortly!

Hopefully all of this preparation means we’re not just bringing designs to the licensing market – we’re bringing a fully-fledged brand with a clear purpose, adaptable designs, and a solid understanding of the industry. We’re ready to hit the ground running and make the most of licensing opportunities as they arise.

Exciting. Now, Brilliantly Brave has already nominated for a number of awards in The Henries greetings card awards. What was your reaction to this and how important are awards nominations to brands like yours?
We were absolutely over the moon to be shortlisted six times at The Henries, across five categories, especially given we’ve only been up and running for about six months! The judging panel is made up of buyers from across the greetings sector, both independents and major retailers, so their recognition feels like fantastic validation. I got the news while driving back from a day job meeting, and I was literally bouncing the whole way home!

For a young brand like ours, these award nominations are incredibly important. As newcomers to the industry, it’s crucial corroboration that we’re on the right track. Being based up in the north of Scotland, we sometimes feel a bit disconnected from the pulse of the larger cities and current trends. So, having two of our ranges shortlisted for “Best Contemporary Trend” was great, if a little surprising.

I think these nominations can play a significant role in the licensing world too. With I Like Birds, I’ve always been proud of how our products punched above their weight at award shows. I’ve seen how industry recognition can elevate buyers’ and the public perceptions of licensees, refining their own brand narrative, and lending a competitive edge against their competition. People tend to judge you by the company you keep, and – whether you win or not – being in the same awards room as the likes of Emma Bridgewater and Cath Kidston is a brand elevator.

For Brilliantly Brave, these nominations are early proof that our work is resonating with key players in licensing – the buyers themselves. For a young brand, this helps build trust, credibility, and publicity, which are invaluable as we look to grow and expand our reach both in the greetings industry and in establishing a solid base for licensing. For potential licensees I like to think it gives a reassurance that we’re serious, credible and noteworthy.

It’s not just about the accolades, though. These nominations give us a platform to share our story and our commitment to supporting mental health initiatives. They help us raise awareness of our mission and potentially expand our impact. So while we’re thrilled with the recognition, we’re even more excited about the doors it might open to further our cause.

Can you share any tips on how to get a start-up brand noticed these days?
Getting a start-up brand noticed these days isn’t just about having great graphics. There are so many incredibly talented designers out there – I’m always humbled at events like PGLive at the quantity of amazing illustrators, way more talented than me…

For small design-led startups, I think the first thing is to really know what you’re about. Think like a brand, not simply a card company or an artist. It sounds obvious to a brand licensing audience but, when you’re on the outside of what is a particularly opaque industry, it’s not always clear that brands are a collection of ideas, more than a collection of visual assets.

My advice? Learn and apply the language of branding before you launch. Figure out what makes you different, what problem you’re solving, what you stand for and against. Figure out your positioning, hone your pitch, nail down just what it is that gives you your ‘onlyness’. Because, for a start-up without significant market penetration or following, what makes you different is what will get you noticed. And there’s always the possibility to pivot later.

With Brilliantly Brave, I’m lucky that I’ve been around the greeting card and licensing block a few times. But it wasn’t always like that. You’ve got to put yourself out there, attend events, make connections, make some noise. And it really doesn’t matter if, at first, it falls on deaf ears. All those unliked Instagram posts are money in the bank for later, all part of building your story.

And remember, to get noticed, you have to do something noteworthy. Focus first on articulating your very own, your very only, brand message. And then be prepared, tenacious and always look to leverage every opportunity that comes your way.

Last question! What advice would you give to a design student who is looking to build a career in areas like licensing and greetings cards?
First off, both licensing and greeting cards are incredibly friendly and welcoming industries. They’re like big extended families, with surprisingly little competitive rivalry. You’ll be welcomed with open arms, plenty of shared wisdom and the opportunity to forge real friendships.

That said, my advice would be to really immerse yourself in these industries. Greeting cards might seem like an easy entry point, but don’t take it lightly. If you want to be serious about it, be serious about it. Do your research. PGLive offers guided tours for people interested in launching, which is brilliant. It gives you a chance to talk with publishers big and small and get a real feel for the industry. Because as it’s an “industry” you need to get your business head on. Don’t be shy about reaching out to publishers, organisers or the press if you’ve got questions. Follow the greeting card press and, if you can, attend sessions run by the GCA.

Licensing is a different beast altogether. It almost acts likes a mysterious shadow industry, encased in a bubble of secrecy. From the outside it’s opaque, big and scary. The trade shows can be daunting, filled with giants with budgets to burn, and your first time at BLE will be a proper “Whoa!”. Finding information about how it operates can feel impossible or so generic that it barely fits your use-case.

When you start you have no idea what’s good, bad or normal in terms of deals, assets, timescales, royalties, volumes, responsibilities. But from the inside? It’s warm, friendly, and full of incredibly helpful people. You just don’t get to access them until you’ve burst through the bubble. But, again, just reach out. Talk to people in the industry. I’ve had the pleasure of fielding calls from aspiring licensors, and I’m always happy to share the insider’s view from a personal small brand perspective.

There’s a retail mentoring program run through BLE, and I think it would be amazing if there was a similarly structured program for designers and illustrators looking to make the jump into licensing, tapping into the wisdom of the agents, brand owners, licensees, creatives and strategists who inhabit the industry. Everyone would benefit if first time brands were boot-camped before landing with agents and licensees armed with knowledge and a clear understanding of industry expectations.

Good idea. Thanks again Stuart!