LicensingCon LATAM 2026 wrapped up its second and final day yesterday at the Transamerica Expo Center in São Paulo, with a program that highlighted the transformations currently taking place in the licensing business. Over the course of two days, executives from the entertainment, retail, consumer goods, and intellectual property sectors analyzed a market where franchises no longer rely exclusively on television or film for growth.

According to official figures, more than 2.600 visitors attended the event, with a strong executive presence: nearly 60% of attendees were directors and managers. The event also demonstrated how TV series, characters, video games, influencers, and brands are expanding their universes into licensed products, experiences, collaborations, and retail activations.

The second day opened with WGSN and its outlook on the consumer of 2028. Mônica Levandoski, senior consultant at WGSN Mindset Latam, presented a profile of a more emotional, demanding, and multifaceted consumer, for whom authenticity, trust, and relevance will carry increasing weight. For the licensing industry, the challenge is clear: in a market with a growing number of properties, it’s no longer enough to have a well-known brand; you must build a connection that can remain relevant over time.

The agenda also featured a strong presence of entertainment companies such as Hasbro, Globo, Redibra, and Disney. Netflix presented “Beyond the Screen: The Netflix Effect and Innovation in Product Licensing,” led by Bianca Rosenberg and Joana Portugal, as an example of how platforms seek to extend the commercial life of their content beyond the screen. Bianca Rosenberg, VP of Marketing for Latin America at Netflix: “We pay close attention to what our fans think and say. It’s very important not to disrupt that feeling, that sense of community.”

AI was another major focus. In “Building Brands in the Era of Agent-Based AI”, Sergio Novaes, Head of Campaigns and Activations at Vimer, discussed how AI is beginning to influence discovery, recommendations, and purchasing decisions. The challenge for brands will be to remain relevant in an ecosystem where some of those decisions will no longer be exclusively in the hands of people. There was also a session on live commerce, featuring Monique Lima, CEO at Mimo Live Sales, who analyzed the evolution of models that combine content, product, and conversion.

From the perspective of buyers and the industry, the perception was that of a growing market. Thaina Galindo de Souza, a children’s fashion designer at Pernambucanas (Brazil), said: “It’s very important because it opens up new possibilities. We can understand what’s happening, what works, and what’s new in Brazil.” Patricia Wawruch de Lima, marketing manager at Cremer (Brazil), said: “The trade show offers us great insight into the future. Brands and licensees share their investment plans and the franchises they’ll be focusing on”.

For Fernanda Senatori, executive director at Cinefilm/Non Stop, the experience allowed her to observe a more profound transformation in the business: “It’s no longer just for children; it’s for everyone. It all starts with fans who want to get closer to their characters.” Along those same lines, Senatori highlighted a shift in the role of producers and creators: “As creators, we also help tell stories that connect fans with products that resonate with them.”

One of the highlights of the event was The Creative Hub, a space dedicated to small and medium-sized Brazilian companies that create content and characters. The initiative provided a platform for local companies to showcase their intellectual property in a market traditionally dominated by major players. Reynaldo Marchesini, executive creative producer and creator at Flamma (Brazil), said: “I’m pleased to see that there’s also room for small businesses and local companies to showcase their intellectual property.” Among the companies in attendance were Valu Studios, with "Megasônicos" and "The Adventures of Poti & Anda-Luz"; Tubarão Martelo Produções, with "The Hammerhead Shark and the Deep-Sea Creatures" and "Animals of the Pantanal"; "Zooparky"; Belli Studio, with "Boris and Rufus" and "Tuca"; Flamma, with "Lupi & Baduki"; Maca Kids, with "Caco" and "Drinka"; Clube Filmes, with "Super Wings"; Immagini Studios, with "Caju e Malu" and "Chef Jack"; and Mandra Filmes, with "Muralzinho".

With this edition, LicensingCon LATAM concluded by showcasing a market that is no longer limited to simply transferring characters or brands onto products. The business is moving toward building ecosystems around intellectual property, where content, retail, technology, experiences, and communities coexist. The presence of major international companies and numerous Brazilian players also confirmed São Paulo’s importance as a hub for licensing in Latin America. For the audiovisual industry, the next challenge will be to leverage this ecosystem to extend the lifespan of content and transform IPs into businesses capable of transcending the screen.

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