Come with us as we take you behind the scenes of London's first bean to bar chocolate factory, Lucocoa Chocolate, founded by our previous scale-up programme alumni Amarachi Clarke.

Amarachi founded Lucocoa in 2015, after teaching herself to make chocolate in her home she learned that the bean-to-bar quality chocolate could be much better than that available in the mass market, even than perceived luxury brands. Since taking part in our previous scale-up programme last year, she has had some incredible opportunities come her way.

"Some new stockists approached us that we could only have dreamed of, as well as some high-profile media. Our team has grown a lot so we are now a team of 7 covering production, comms, sales and creative. Previously we only really dipped our toe in seasonal but we now have the capacity to really engage with Halloween, Bonfire night, Black Friday, Christmas, Easter etc. It’s also fun for us to think creatively about how we sell our chocolate.

We’re also looking at a new, larger factory to move to so if all goes well we will have a new Lucocoa home soon!"

Read on to get a taste of what it's like to run your own chocolate factory...

Monday

Today will be the most chill day of the week! Looking at the calendar we have a lot to get through so planning is key. I start  the day by mapping out what success looks like at the end of the week and then work back from there plotting every key task for me and my team members, that we will discuss at the Tuesday morning team meeting when everyone is in.

We also start by roasting the cocoa beans of the chocolate that we’ll be making in the week, going through stockist orders and planning when we will get them out by.

Tuesday

We have our weekly team meeting, this is a good chance to get the team up to speed with a lot of things that have happened in the last week, catch up on projects and have a chat about how we felt the previous week went.

The weekly stocktake happens and gives us a snap shot of how much product we have. We have a baseline of product we are comfortable with. After the stocktake, we then prioritise the making of products to get to the baseline or just above that.

I had a meeting with Mercury Spirits a fellow British Library scale-up programme alumni. We discussed the possibility of working together on a Christmas product – chocolate and negroni, a combination that never fails!

All the cocoa beans are crushed and winnowed and the machines are switched on. They won’t stop until Thursday when the chocolate is ready. We’re making Natural Blonde and 60% Haiti this week.

Lots of tempering of chocolate today as we have to keep the stocks up!

Wednesday

We were invited to a Black History Month fair in the Aldgate Tower, it was a nice little lunch market for staff in the building. It was great to meet a lot of other Black founders.

I got back to the factory and hopped straight on a call with ITV as I will be baking our signature brownies on This Morning with Alison Hammond and Dermot O’Leary, there are a few things logistic wise that needed to be sorted so I hopped on a call with the guys at ITV to iron those out.

The coconut sugar, lucuma and cocoa butter are all weighed out and loaded into the machines slowly throughout the day.

In the evening a few of us went to a screening of Chocolate War a documentary by Miki Mistrati, highlighting the issues with child and slave labour in the chocolate supply chain. With the amount of money big chocolate companies make, we know they can fix the problem, but haven’t been required to, which is a great shame. We have been working on how we fix this problem and raising awareness on the issue through a campaign and podcast.

Thursday

Today we were invited to speak at a conference in Brussels by Meta in November which is flattering, we hopped on a call and got some more details.

I caught up with our sales lead on where we are sales wise and putting a strategy together on meeting our targets

We had a request from the BBC show Dreaming whilst Black to have our products placed in the background of the show. I finally got around to signing the contract and sending that off. Now to get the stock ready to go out next Monday.

Friday

This is bake day and always a little stressful as Friday which is supposed to be a bit of a winding down day, always seems to be one of the busiest. All the bakery orders that come through online throughout the week are baked and dispatched on Friday for delivery on Saturday.

We had a brainstorm session with a new partner – Glebe Farm, the only oat milk company in the UK using British oat. We have been using their oat milk for our hot chocolate and their gluten free flour for our brownies for a few years now. We got some great ideas down and now to get them rolled out.

Saturday

We form part of the Spa Terminus market on Saturday so we have the shop fully stocked with chocolate, chocolate gifts, hot chocolate and our signature Bourbon biscuits.

I left the shop early to head over to my Spanish lessons.

 

Are you a creative business looking to grow and open doors to new, exciting possibilities? Join our Get Ready for Business Growth scale-up programme now! 

In the spirit of London Fashion Week, I thought I’d dedicate this blog post to looking at the early history of the sewing machine – the tool that made the mass production of clothing possible. It is also a good example of a machine which no one can quite agree on who the inventor was.

If I describe something first, have I invented it? How detailed does my description need to be? Do I need a working model to prove my invention works? Are my ideas similar to a future proven solution? Do I need a patent?

How you answer questions such as these will likely determine who you think the true inventor of the sewing machine is. So rather than tell you who I think it is, I have instead highlighted some influential early patents from within our historical IP collection so you can decide for yourself.

Focusing on patents (should) allow us to check something is new, or at least involves an inventive step. Like any invention, it is very possible that others created sewing machines similar to those described below first, but for whatever reason did not apply for a patent. Something we will briefly explore later.

 

GB 701 of 1755

In 1755, Charles Fredrick Wiesenthal, a German born physician based in London, received a patent for a ‘needle for ornamenting fabrics’. The needle had a point at either end, meaning it could pass through fabric without needing to be turned. Some commentators have said the movement of the needle was via mechanical means, but the description goes into little detail.

 

GB 1,764 of 1790

In 1790, an English cabinet maker by the name of Thomas Saint was granted a patent for five types of varnishes and their uses, a machine for ‘spinning, twisting, and doubling the thread’, a machine for ‘stitching, quilting, or sewing’, and a machine for ‘platting or weaving’.

It is of course the machine for ‘stitching, quilting, or sewing’ that is of interest to this blog post, however it was somewhat lost in the busyness of the patent. So much so that when the Patent Office republished older patents and arranged them into new classes, it was placed into ‘wearing apparel’ rather than ‘sewing and embroidering’. It is safe to say Saint’s sewing machine was all but forgotten.

That is until 1874, when a sewing machine manufacturer called William Newton Wilson found the patent while undertaking research at the Patent Office. He had the sewing machine built and, after some adjustments to the looper, was able to prove it worked.

The machine incorporated many features still to be found on modern machines (as well as in later patents), such as an overhanging arm, a vertical needle-bar, and a feed system for the fabric.

The machine Newton Wilson built can now be seen at the Science Museum.

 

Fr 616 of 1804

In 1804, Thomas Stone and James Henderson received a French patent for their sewing machine, which passed a hand sewing needle back and forth through the fabric using a pair of pincers at either side (imitating the action of human fingers). It unfortunately required frequent stops in order to replace the short length of thread it used.

 

Austrian Exclusive Privilege in 1814

In 1814, Josef Madersperger, an Austrian tailor, received the early Austrian equivalent of a patent for his sewing machine. It used a double pointed needle (like Wiesenthal’s) and replicated as best it could hand sewing. In 1839, Madersperger received another patent equivalent for a machine that used an eye-pointed needle.

Neither machine was ever made publically available and Madersperger would unfortunately die destitute in an Viennese almshouse in 1850. In 1933 a memorial was erected in Resselpark in Vienna, declaring Madersperger the inventor of the sewing machine.

 

FR 7434 of 1830

In 1830, a French tailor called Barthélemy Thimonnier received a French patent for his sewing machine which used a hooked needle to replicate hand sewing. The same year Thimonnier found himself overseeing 80 of his machines in a Paris workshop making uniforms for the French Army.

Unfortunately the success was not to last, as in 1831 all 80 machines were destroyed by a mob of angry tailors, fearful his invention was a danger to their livelihoods. Although later patents followed, Thimonnier never found further success and died in poverty at the age of 63.

One of Thimonnier’s 1830 sewing machines can also be seen at the Science Museum.

 

GB 10,424 of 1844

In 1844, John Fisher and James Gibbons received a patent for, among other things, a machine for ornamenting lace. While not originally intended to be a sewing machine, it nevertheless was able to function as one, and used both an eye-pointed needle and a shuttle – both still in use on machines today.

 

US 4,750 of 1846

In 1846, Elias Howe Jr. was granted a patent for his sewing machine which used a lockstitch design (the most common mechanical stitch made by a sewing machine today, which uses two threads that ‘lock’ together). Unfortunately Howe struggled to find financial backing for his machine, and so was forced to take a job in London modifying one of his sewing machines for a buyer there.

When Howe eventually returned to America he discovered sewing machines were being sold that appeared to infringe his patent. One such sewing machine was the work of an Isaac Merritt Singer – a man whose surname would soon become synonymous with the sewing machine.

Howe sued Singer for patent infringement and won. Many more legal battles would ensue between the main sewing machine inventors and manufacturers before they would decide to come together to form the first ‘patent pool’ (and the Sewing Machine Combination) in 1856.

With my earlier disclaimer in mind, it’s worth briefly looking at an inventor who never took out a patent – a man by the name of Walter Hunt. Howe’s sewing machine is often credited as being the first to sew a lockstitch, however Hunt invented a sewing machine that did so 13 years earlier in 1833. Not wanting to put seamstresses out of work, Hunt never applied for a patent, but his machine came to light during the patent trials.

Hunt can therefore be called the inventor of the lockstitch, however Howe had the patent for it. Earning him $5 for every sewing machine sold in America. Howe soon became a very rich man.

 

Conclusion

So that was a very condensed account of the early history of the sewing machine. Several less important patents were skipped in the name of brevity, and many of the inventions that were included could have filled a blog post many times longer than this one alone. If you would like to know more then please do come in to the library to read further.

Hopefully you now have a better idea of who you think invented the sewing machine, or maybe you feel it was actually the accumulative work of many.

 

Steven Campion, Business & IP Centre intellectual property expert.

Our obsession with one metal has inspired some of the greatest art and creativity in history. Why are we so enamoured with it?

Gold is rare, malleable, remoulded and reinvented into countless forms, throughout many different cultures and civilisations. It is also incredibly beautiful.

We extract it from the earth to form objects that are coveted and often become more valuable over time until they become treasures. This process inspires great innovation and creativity. All in the pursuit of one, precious metal.

The British Library’s Gold exhibition showcases its own collection of golden treasures. On display are manuscripts, treaties and book covers of varying ages and from different places, cultures and civilisations from all over the world.

Here we see how this valuable commodity, when combined with innovation, creates new objects that can be protected, valued and resold. As we’ll discover, it’s a kind of intellectual property alchemy.

Innovation to extract beauty

Over the centuries there have been various places where people have literally, ‘struck gold’. These have become renowned; from the ancient mines of Egypt, India and Anatolia to parts of Europe, where explorers obsessed over a mythical place in the new world called El Dorado, the city of gold. More recently, it is the 19th century that springs to mind, with its gold rushes in Australia, New Zealand and North America as well as Canada’s famous Klondike gold rush in the Yukon province, immortalised in novels and film.

Each gold rush generated new migrations, economic development and new technology. It’s here that the patent system gives an interesting snapshot into what was going on technologically as speculators were investing in sophisticated ways to extract more and more from the same mine.

A patent is an intellectual property right that will protect new and original inventions and processes. The British patent GB1853 no.997, Apparatus for Washing Earths containing Gold, is one such example. Here, two mining engineers from France sought protection for a new technique to ‘dredge’ and ‘wash’ earth and materials derived from rivers to extract more gold. We can see an illustration of how their patent worked in practice here:

There were many other such patents at the time related to mining and metallurgy to keep up with the demands of the industrial age’s hunger for minerals and metals.

Innovation in transformation

Once sufficient quantities of gold are gathered, they can then be transformed into objects of various kinds. How the gold is used has inspired many different techniques over time that have lasted through to today. The use of gold leaf is over 5,000 years old. Ancient Egyptians developed techniques to hammer gold into a thin layer, which created just the same appearance as the solid material but with a more economical use.

Gold leaf can also be finely ground into gold paint combined with a pigment to create ‘shell gold’. Again, another economical use of gold which means that the gold, in its leaf and shell forms, can be used in as varied works as wooden sculptures to gilded porcelain to illustrated manuscripts; such as the British Library’s Harley Gospels.

But the value is not just in the commodity, it’s in the artistic creation. Many jewellers have registered designs for unique pieces made of gold and other precious metals. A well-known brand like Bulgari have a number of watches registered as a design, presumably as they are unique signature pieces of great value to the brand and its design heritage. Here is one such UK registered design:

Main illustration for design number 80800720005000

Registered design is an intellectual property right that gives companies or individuals the right to protect the appearance of a product, such as its shape or pattern. These are ordinarily for more than one piece that is in production.

But what about one of a kind creations using gold? Can they also acquire extra protection and value?

The golden rule of copyright

Each of the works on display in the Gold exhibition is a unique work of craftsmanship and art. Among the most modern is an Art Deco binding by Pierre-Émile Legrain (1889– 1929) of Colette’s La Vagabonde Paris, 1927. Like nearly all of Legrain’s work, they are one-off, original creations and so are automatically protected by copyright at the time of creation. You can call it the golden rule of copyright: if you create an original work it’s automatically yours to own (or sell). However, as Legrain died over 70 years ago, his work is now in the public domain so can be copied and reused. However, this doesn’t lessen the value of his originals, which sell at impressive prices at auction due to their recognised skill and scarcity.

Pierre-Émile Legrain binding on Colette, La vagabonde Paris, 1927. British Library, C.108.w.8

All that glitters isn’t exactly gold

Gold is so valuable and treasured that anything associated with gold, almost unconsciously takes on this value, conveying a meaning that taps into our shared cultural experience and memory. This is where the modern world of branding has lifted this golden association and taken it into new places, in every kind of trade conceivable!

What do you think of, when you hear ‘golden arches’?

A search on existing registered trade marks is a fascinating look at how everybody wants to be associated with all that’s golden. There are over 1,000 trade marks that begin with the word, ‘gold’. From estate agents to media companies, the tourism sector to restaurants, to name but a few.

This goes to illustrate just how we love all things golden, that the value of a trade mark and its reputation is enough for businesses to invest in their brands with the hope of one day selling or licensing their name. This is IP alchemy taken to another level!

Why gold will always hold its value

But it’s not just the value of gold as a commodity, it’s the versatility of gold that exponentially increases its value. Its value may be in a beautiful jewellery design, a one-off work of art that features gold, an invention to find more gold or the power of association that makes us love a brand or business.

Gold carries a symbolism seen in every culture and time. It’s been considered sacred and it’s been considered profane. It’s inspired the best of our creativity (and sadly the worst of our greed). It is truly timeless and its varying forms are endless.

So next time you see anything golden, remember there’s more than meets the eye when it comes to its value. There’s creative alchemy, and sometimes a little IP.

Jeremy O'Hare, Business & IP Centre IP expert

 

News and technology have always needed each other. A history of breaking the news is also a history of the groundbreaking innovations used to deliver it.

Behind the incredible stories and newspapers that published them, in the British Library’s Breaking the News exhibition, is also the story of the complex inter-relationship between publishers, audiences and the society that delivered the innovations behind it.

For the last couple of centuries publishers having been finding new audiences and utilising new technologies to accomplish just one thing; to get news and information in front of people’s eyes in a way that’s commercially sustainable.

Here is a small selection of the technological innovations protected at the time by patents to enable them to do it.

Pre-industrial to industrial printing

China and later Europe lead the way in pre-industrial printing and publishing. But methods of creating and printing text were still comparatively labour intensive. The Gutenberg Press helped to mechanise the process but still relied on hand presses. Nonetheless it helped to satisfy the demands of a growing literate class hungry for new ideas and knowledge.

But it wasn’t until a few centuries later that we had the beginnings of the industrial age and the first machine powered printers. The limitations of hand presses precluded any possible daily newspaper from circulating widely. But between 1810 and 1814 came a breakthrough with German inventor Frederick Koenig’s ‘Printing Machine’ (patent GB 1810 3321) along with a number of other related patents.

The use of the word ‘machine’ itself is noteworthy, as it was a steam powered cylinder press. Some British investors interested in new printing technology who backed Koenig were rewarded with a machine that doubled print volume to 800 impressions per hour on previous technology. The door was now open for subsequent print machinery to develop.

Image from 1810 3321 Printing Machines. Koenig’s Specifications

A ready reading audience

By the middle of the 19th Century the first industrial society was emerging in Great Britain with similar changes in the US and Europe. Massive social changes were underway, among them the urbanisation of populations servicing the technologies of the industrial revolution.

Large populations within a comparatively small space meant distribution of information was able to be quicker and more efficient. Furthermore, other technologies and services such as the railway, canal network and the postal service meant a greater interconnecting of people, cities, towns and regions. News could be spread faster and the mass production of newspapers to a mass audience became a reality.

The technology enabled it and publishers, sensing a business opportunity, financed the capital to achieve it. Among the many emerging printing technologies of the time was British inventor, Augustus Applegath, and US inventor, Richard M Hoe.

Applegath can claim credit for inventing the machine that The Times of London was printed on. His invention replaced the previous flatbed printer and the new model was able to print on both sides simultaneously using a rotary technique. This enabled The Times to produce 4,200 prints per hour. A marked improvement in copies and also cost efficiency enabling the paper to expand its reach and influence.

Image from patent GB1846 11505 Printing Machines – Applegath’s Specification

Following close behind Applegath was Roe’s, Improvement in Rotary Printing Presses, (US patent 5199, 1847). Publisher’s put it to good use and bought the technology. Roe’s invention was affectionately known as the ‘lightning press’, generating 8,000 papers per hour. Subsequent improvements meant newspapers could be printed on both sides as well as cut and folded. By the 1870s, technology meant the modern newspaper industry as we knew it for the 20th Century, was born.

Richard M Hoe’s Improvement in Rotary Printing Presses, US 5199, 1847

The golden age of newspaper printing

The early 20th Century was the golden age of newspaper publishing. The market had matured as huge audiences could be reached. Information could be passed around the world quicker with established communication technologies such as the telegraph and the hunger for daily news was now insatiable. Publishers, now an emerging breed of media barons, could consolidate their ownership over various titles as circulation figures kept rising.

The business model was focused on advertising revenue, keeping the cost of a single paper as low as possible for the consumer. This meant papers could be sold cheaply, or in the eventual case of local papers, delivered freely. All audiences in society had a paper to read, whether it be a broadsheet, red top or somewhere in between.

In the meantime, marginal improvements in technology ensured continuous profitability for the industry. A 1967 US patent (3,314,626) part submitted by the Hearst Publishing Company, essentially improves on the efficiency of paper use in large rolls. The print industry was certainly as efficient as it could be, however, other emerging media technologies began to have their impact.

Mass media and the internet

With radio and TV increasingly dominating the dissemination and delivery of news, advertisers could see their spend more effectively used through these mass media channels.

Scoops, splashes and investigative pieces still kept print media in the public attention and the value of local print news held steady over much of the second half of the 20th Century. However by the year 2000, advertising revenue for newspapers hit their peak and within ten years had sunk to below 1950 levels.

By the turn of the 21st Century, a now established technology called the internet, meant words on a page could now become words on a screen. News could be instantly delivered by newer and smarter ‘reading devices’, or what we now call smartphones and tablets.

The challenge of physical distribution of written content was now history; digital meant instant, anytime, anywhere. The 20th Century newspaper industry now had to become 21st. Some publications have managed the transition to newer forms and different business models. Many haven’t.

News Corp UK & Ireland [GB] patent application EP2747031A1, a method of publishing digital content, 2012, is a fascinating example of an established print media company innovating in the face of rapid technological changes, in this case with tablet formats. The patent attempts to recreate the newspaper column, as a reading experience, to the tablet.

Illustration from patent application EP2747031A1 A method of publishing digital content. News Corp UK & Ireland Ltd [GB], 2012

From one challenge to another

At the outset, all of this innovation was focused on solving one challenge; to get as many eyes as possible reading news and information at a price affordable to them and the publisher. The appetite was there and without doubt, technology over the 19th and 20th Century delivered to the audience’s needs.

The challenge of the 21st century is now not distributing content but holding attention. With printed news, posts, tweets and images bombarding us daily through our devices, could there be new innovations enabling us to see what we really want to see? This is the new and emerging business model of the tech companies who now have the lion’s share of advertising revenue.

How will print respond? And are there new innovations around the corner, and new audiences to engage with? Surely, there must be. The news isn’t broken yet.

Jeremy O'Hare, Business & IP Centre IP expert

To celebrate the British Library's Breaking the News exhibition we wanted to get behind the scenes of news-breaking podcast producers Chalk & Blade, with a rare 'Week in the Life of' blog!

Founder and Creative Director, Laura Sheeter spent more than 10 years working as a news reporter in the UK, USA and former USSR - reporting on everything from the fate of abandoned Soviet military bunkers to the villages with only grandparents and grandchildren left behind in the exodus of Eastern European workers to the rest of the EU, the disastrous Deepwater Horizon oil spill in the Gulf of Mexico, and the rebuilding of New Orleans in the years after Hurricane Katrina.

After a brief career shift, working as a Russian to English translator, Laura and her business partner, Ruth Barnes, set up Chalk & Blade - one of the first podcast-only production companies in the UK - in 2016, before podcasting appeared to be a business at all. Soon the time came to grow their business, so they joined our scale-up programme, Innovating for Growth. 

"The British Library’s Business and IP Centre was the first place, Ruth and I went to learn about how to set up a new business. It’s since become a bit of a North Star with us returning to its resources whenever we encounter new opportunities and challenges.

The sessions with the marketing and brand teams have helped immeasurably with the visibility of the business, particularly embarking on a new redesign of the website and relocation of the offices. The Chalk & Blade team is equipped with SEO-super charged ideas and branding tactics to position ourselves as the premium destination for podcast making."

The company makes premium branded content for brands and organisations including Net a Porter, Adidas and the UN, the hugely popular TV companion series Obsessed With for the BBC (now also a show on BBC3), and award-winning, critically acclaimed narratives including In Search of Black History with Bonnie Greer (audible), The Messenger (audible), Hunting Ghislaine (Global) and Taking on Putin - an independent production with John Sweeney.

So what goes into creating all this ear candy? Read on to find out.

Monday

It’s a new work and the first in our shiny new Chalk & Blade offices. While the rest of the world came to a standstill over the last few years, the podcast industry has seen a huge boom. IAB saw an ad spend of $1.4 billion in the space last year alone. With such demand across originals and branded content, we’ve been busy growing and developing the team and the relocation was all part of this investment in the next phase of the business.

Previously in a shared co-working spot on Old Street, we’re now settling into a Shoreditch warehouse space with our own front door and freshly brewed organic coffee on tap (high on the list of requirements during the multiple recces!). A new week gives me a chance to check in with a lot of the team’s projects and look ahead to line up meetings with potential creative partners, commissioners and journalists all bursting with great ideas that could lead to a project.

Tuesday

The team is in full swing juggling a multitude of shows this summer. In any one week, we’ve got a BBC show recording for TV and our first foray into visual podcast production (a fascinating experience and, yes, branded cushions are a must!), drafting and refining a very personal show which requires careful briefing, a narrative podcast in pre-production (our office walls are currently decked out with story arc ideas) and talent meetings to unearth some welcome fresh voices into the mix.

Wednesday

The news tells me that we’re gearing up for a heatwave here in London so this afternoon after school pick up I take the boys to get ice-creams (they both choose waffle cones like the sensible sorts, they are). When my co-founder Ruth and I set up the company, we were both parents and so we’ve always been very open about having to juggle the demands of a busy production schedule alongside homework/baking a sponge for the school summer fete or taking the dog for a spin around the park. This is something we’re also incredibly aware of for our team too and want to offer all of them the same flexibility, whether it’s heading to a spin class on their lunch break or needing to take a duvet day when they’ve had a tough week.

Thursday

I get a text from my colleague, and Chalk & Blade’s Development Lead, Jason who is at the Children’s Media Conference meeting with other production companies and commissioners this morning. Behind the scenes, we’ve been scoping out opportunities for audio ideas for kids. We’re really excited about inspiring young imaginations through podcasts, both as audio experts and as parents who know the value of great content for our kids.

Friday

The final episode of our podcast series with investigative journalist John Sweeney, Taking On Putin, is out in the world and I couldn’t be prouder of the team! I first worked with John as his Executive Producer on our hit podcast Hunting Ghislaine so when he suggested we follow Hunting Ghislaine with a series about Vladimir Putin, I was all in. We actually started work on Taking on Putin nearly a year ago. At the time I had to keep checking with my business partner, Ruth Barnes, that it wasn’t too niche or geeky. Russia wasn’t fashionable, and those warning about the threat Putin posed were seen as paranoid, crackpots or warmongers. We never expected it to be headline news.

Taking on Putin has shown the true value of telling serious stories deeply, with character and humanity, because when the world takes alarming turns we need to understand not only the what, but have a trusted guide explaining the why of what’s happening too.

And that’s precisely the kind of stories we want to hear and tell through our podcast productions at Chalk & Blade.

To mark World IP Day this week, we're shining a spotlight on the intellectual property experts of the Business & IP Centre in London to learn about their favourite inventors, weird and wonderful IP queries they've helped to solve, and more.

Neil Infield, Business and IP Centre Manager

If you come into the Business & IP Centre at the British Library you'll see Neil's friendly face! He's there to guide you through the complex material we have. Since joining the British Library 17 years ago, Neil has become an expert on trade marks and has supported thousands of aspiring entrepreneurs develop their IP. Let's hear more from Neil now.

What's a weird and wonderful IP related query you’ve had?

"I met with someone who wanted us to arrange a meeting with the head of Transport for London. His invention would remove air from underground tunnels, which would remove air friction from the tube trains. This would massively reduce energy consumption on the underground system. We didn’t resolve the issue of how passengers would breathe on the trains."

What form of IP should every business have?

"I’m a bit biased as I deliver the workshop on Trade Marks. But on the basis that if you are successful, you will definitely have competitors, you need to be able to differentiate yourself from them. And owning a distinctive registered trade mark is the way to do it."

What piece of classic/pop culture will have a big impact when it comes out of copyright?

"I guess the biggest name to go into the public domain will be Micky Mouse next year (2023). But it will be only the original version of Micky (think Steam Boat Willy) will be coming out of copyright. You can find out who came out this year on Wikipedia 

Who is your favourite inventor or invention?

"I think I will go for inventors I have actually met, but I can’t get below three people!

1. Mark Sheahan, our Inventor in Residence at the Business & IP Centre for over 15 years. He has helped hundreds of inventors through his free, one to one advice clinics.
2. Ian Harrison, who I met at my first British Invention Show in 2006. His Milli Grip adjustable spanner is sheer genius. And I am the happy owner of both the original and updated versions. You can see Ian demonstrate the spanner here.
   Like many great inventions it hasn’t had the success it deserves. It is currently available through Monument Tools.
3. An equally brilliant invention is the Kikka Digga developed by Nick Skaliotis. I first met Nick demonstrating his tool at a local agricultural show at Plumpton College. In conversation while buying an early version of the Kikka Digga, I discovered he had already been helped by the Business & IP Centre. Again this product is still waiting to mainstream, but if you read this review on Amazon you (like me) will wonder why every keen gardener doesn’t yet own one."
   
   

Seema Rampersad, Senior Research and Service Manager

Seema has been with the Business & IP Centre for 9 years and has built a reputation as one of our top notch presenters and speed-mentors. She has worked as an information professional for over 25 years, most of this time has been as a business librarian in the corporate sector. 

What's a weird and wonderful IP related query you’ve had?

"We frequently get asked for patents from the 19th century which are not available to find easily or free on the internet. We usually must research some aspects of the query using our specialist resources and even patent indices to find the patent number, year and actual patent with drawings. Some of the 19th century inventions are baffling but also interesting such as one on a physiognotrace for drawing portraits. There was one international government department from another country who were extremely pleased when I provided them with a culturally significant patent which they had previously spent about 10 years trying to trace. I found it in about 10 minutes using our patent resources!"

What form of IP should every business have?

"Trade marks and copyright are forms of IP that most companies have for trading and doing business. As a member of staff who uses a lot of digital content as well as a consumer of content in everyday life, I am reminded of copyright very often. Copyright for creative works is an automatic right but I still would recommend that you are explicit that the right belongs to you and your business to ensure that your copyright is protected and not infringed. I also recommend that you do your due diligence and research copyright owned but others in the onset of your startup to avoid infringing the rights of others."

What piece of classic/pop culture will have a big impact when it comes out of copyright?

"The book Winnie the Pooh came out of copyright in 2022 and there are various artist pieces of works in music, sound and films that are out of copyright which I am less familiar with. However, music like Gershwin's 'Rhapsody in Blue' and songs like 'Long Road to Tipperary', 'Til we meet again' and 'Pack up your troubles in an old kit bag' are still being sung freely nowadays with Eliza Doolitte doing a remake of the latter in 2010. 

Who is your favourite inventor or invention?

"I am an avid Apple Inc fan from my iMac, iPhone, Apple Music and I still aspire to get an Applewatch one day. These items have truly revolutionised the way I work, socialise, relax and consume content. I particularly like that Jony Ive, Chief Design Officer (CDO) at Apple, is from my neck of the woods in London. His journey to greatness is truly remarkable as an industrial designer. I also thank Apple for making me more connected in my personal and professional life with these innovations. Not to mention our amazing successful customers who inspire us with their motivations and business ideas in the Business & IP Centre."

Jeremy O'Hare, Information Expert

Next up we have Jeremy, who has worked at the British Library in a number of roles since 2006. His background is in business information and was previously a Relationship Manager for our scale-up programme, Innovating for Growth Scale-ups. If you've attended some of our webinars, you may recognise him from his intellectual property workshops and one to one clinics.

What's a weird and wonderful IP related query you’ve had?

"Without revealing too much as a lot of people I see require confidentiality, I have worked with performing artists such as dancers and musicians who compose, choreograph and create pieces that become a live art installation. So the IP creation with multiple creators and collaborators (as well as producers) can become very complex but absolutely fascinating. It also demonstrates how IP is in so many different endeavours and is not just about inventions and brands."

What form of IP should every business have?

"I think every business should have at least one trade secret. And I’m saying that in a broad way, such as what is the process to do things that’s better or cheaper than anyone else? Do you have a special network that provides an advantage or have you innovated something so new and unique with value that you can build a business off it? Whatever it is that you wouldn’t want to lose that helps your business should be named and valued."

What piece of classic/pop culture will have a big impact when it comes out of copyright?

"Most of George Orwell’s work is out of copyright from last year, so expect a whole range of work coming out based on his work. There’s already an Animal Farm game. Watch out for adaptations of his established works on stage, film and literature. It’s interesting to note that some of his recently discovered work, may be still subject to copyright restrictions which is why copyright can be a little confusing at times."

Who is your favourite inventor or invention?

"I love looking at the history of patents and how certain inventions have come to create the world we live in. I do think the invention of the first jet engine invented by Frank Whittle, paved the way for the world we know today (GB347206 Improvements relating to the propulsion of aircraft and other vehicles). We can travel to destinations once the preserve of only a few, form closer business relationships, bring long separated families back together and to form new relationships! The world is so much smaller because distance is not an obstacle. It’s just now the price of an air fare!"

Steven Campion, Subject Librarian (Business and IP)

Steven works alongside Business & IP Centre colleagues as the curator of the IP collection. He has worked at the library for 9 years and can often be found in the reading room helping researchers access our world-leading collection of historical IP documentation.

What's a weird and wonderful IP related query you’ve had?

"I quite enjoy a ‘what is this thing’ enquiry. It’s amazing how often a mystery object will have a patent number somewhere on it."

What form of IP should every business have?

"Always protect a strong business name or logo with a trade mark. Plenty of information on our web pages on how to do this – or pop into your local BIPC for advice."

What piece of classic/pop culture will have a big impact when it comes out of copyright?

"Micky Mouse – but only the version as depicted in Steamboat Willie, as the short film will enter the public domain in January 2024. Later iterations of the character will still be in copyright, and Disney have many trade marks on the character (and many, many, lawyers), but I’m interested to see what happens."

Who is your favourite inventor or invention?

"My favourite inventor is Melitta Bentz who invented the coffee filter (and with it the coffee connoisseur’s favourite – pour over coffee) in 1908.

Before Bentz, coffee was usually brewed by pouring ground coffee into hot water and then waiting for the grounds to settle to the bottom. Sieves and cloth bags were available but they either let too many coffee grounds through, or would be so narrow that the coffee would be cold by the time it was filtered. Bentz’s solution was simple yet brilliant – a perforated brass cup lined with a piece of blotting paper from her son's exercise book.

Bentz became one of the first female German patentees and would go on to found the still hugely successful Melitta company. We have a Melitta brand pour over coffee set in our house and every time I see it I am reminded that we all have the potential to have an idea that can not only make our own lives better, but perhaps also change the world a little for the better as well.

…My favourite invention however is Lego. My bank balance is testament to this."

 

Got an IP query of your own? Head to our website to learn more about how we can support you and get in touch with our IP experts now!

Every generation of young people wants to change the world. And they do, in some way.

Right now in someone’s studio flat, or halls of residence or on a gap year adventure is the next founder of a tech giant, a publishing phenomenon or an inventing genius. Of that, there is no doubt. But some may not get the success or recognition they deserve for their originality, creativity or inventiveness. The one thing that can often make or break an entrepreneur or business venture is getting their intellectual property right, first time.

This year’s theme for World Intellectual Property Day is IP and youth: innovating for a better future.

Here is a list of the most common mistakes that I’ve come across in helping thousands of entrepreneurs, creatives and inventors. I’m a little older now having helped so many but I hope what you read here will make all of us that much wiser not matter how young we are.

1. Knowing how important Intellectual Property actually is.

You don’t know what you don’t know and that’s the point of our first tip. For any new business (or established) not understanding how IP can protect your creations and innovations is a fundamental mistake. There are two sides to IP; one is preventing unauthorised use of what you create and the other is maximising your existing IP as an asset that can acquire value. And if you come to sell your business, a lot of its value potentially resides in your IP. Understanding this and building it into your business strategy will maximise your IP, and therefore, your business impact. But how? That’s the next point.

2. Getting to know the IP family

Want to patent your idea? Re brand your design? Copyright your invention? Mixing metaphors is one thing but not understanding the different forms of IP and what they do is like being stuck in a maze without an exit. What’s more, knowing a thing you create in your business or a creative pursuit can often be protected by more than one form of Intellectual Property is a great help. I like to call them the IP family. Knowing the difference between them and the job they do will provide clarity, and help you formulate your IP strategy clearly. So, for the record, you patent your invention, register your design and copyright your artistic expression. You trade mark your brand, keep quiet your trade secret and everything else is know-how known only to you. And as we’ll see, timing for all of this is key.

3. Don’t be late to register or protect your Intellectual Property.

I’ve been an agony Uncle to many downhearted, once enthusiastic, start-ups. What has been the most common problem? ‘I started trading with this amazing brand only to find someone else was using it’. It’s a fundamental mistake. What you think is an amazing name for a product or business is probably so amazing that someone else has got there first. So do your research online but also for the register of existing trade marks in the UK here. Our team in the Business & IP Centre’s around the country can assist you with how to do a basic search. This of course as relevant to all the other forms of IP, so it’s always good to register or protect as soon as you can establish originality.

4. Don’t overshare and the importance of confidentiality

We’ve all done it. It’s irresistible. We’re so excited and captured by our new business proposition or new gizmo that will change the world that we ‘overshare’. Pub environments are particularly risky. If you do have something of real potential, why tell the world, or just anyone else you know? The other thing I hear often is that ‘so and so stole my idea’. Unfortunately, the idea shouldn’t have been shared in the first place. Knowing what a non-disclosure agreement is and when to use them, is a good first step to securing your idea if you need to share it with interested parties. In fact, when it comes to inventions, anything already known in the world invalidates your application. So, as a rule of thumb, share nothing with no one, unless necessary, and with the right protection in place.

5. Assuming a good idea is a commercial idea is the easiest mistake.

This is a big one but I have to say it. Lots of people have amazing ideas for inventions or services and create incredible things, but not all of these will be commercially successful. Why? Because there’s no market value to them. The thing you create doesn’t satisfy a big enough demand where people are prepared to pay for it. So a good exercise early on is to ask yourself three questions; what problem am I trying to solve? How big a problem is it really? And does my invention or business provide a good enough solution? Inventors very often fall into this trap. They discover a solution to something without considering the size, and therefore commercial value of the problem. History proves this, as there are piles and piles of granted patents which never made it to market. Anybody care for spray on hair? Electric shoe polishers? But at least we can be reassured that even the biggest and boldest companies can fall into the same trap. Anyone own a Betamax?

6. Not market testing your new product or service.

With this in mind, it’s just good practice to do prepare a robust business plan that includes some evidence of potential demand for your innovative product or service. Market research and testing are fundamental steps to get right early before properly launching. This helps to safeguard any future investment, both time and resource and IP, that you subsequently put into the business. At the British Library’s Business & IP Centre you can do market research with some of the best researchers and publishers in any given industry. That will help to demonstrate that you’re on the right track (or not).

7. Not setting an IP budget.

There is a cost to registering some forms of IP, those that are known as registered rights. Specifically, these are patents, trademarks and design. The most costly are patents but you should do all your IP research early and work out what the most cost effective options are balanced with maximum protection (supported by a sound business case). That way you’re on track to make judicious IP decisions that pay off. It’s also very helpful to list IP as a necessary cost alongside other costs such as marketing spend, operational and staffing. Ultimately, if your IP is effective, the asset should pay for itself.

8. Not factoring in infringement costs

First, some bad news. There are no IP police. You will need to be alert to anyone else copying your invention, using your brand or selling a different version of the same product you created. And it’s up to you then to act. Sadly, as your brand grows with your product or service, you should expect copycats. Imitation, they say, is the sincerest form of flattery, except when it takes out your bottom line or ruins your hard earned reputation. Early and tough action on infringement is the best way to shut down any threats and that will almost always involve some legal expertise. So set aside a war chest in your IP defence but be reassured that there is professional help out there. And that’s when IP lawyers are there to fight for your interests. IP lawyers should be members of professional bodies such as CIPA or CITMA. Also be aware of trading standards for some circumstances of infringement.

9. Not knowing what to ask an IP attorney

Ignorance is never a good thing, especially when trying to solve a complex problem like IP infringement or a new application for protection. That doesn’t mean you have to be an expert, by any stretch. But at least by having a good solid grounding and understanding of how IP works for you and your business means you can maximise the time and effort of any professional advice you seek. Knowing enough about something to ask really good questions and to evaluate the reply is more power to you and encouragement that your IP budget is paying back. Time is money (especially legal time) so cut out the IP small talk and get to the crux of the IP issue and its possible resolution.

10. Not starting with your Business & IP Centre or Patlib!

How could I not conclude by inviting anyone with an IP issue or question to get in touch with their local Business & IP Centre or Patlib (patent library) network? You’ll be able to talk with staff who have experience and are able to be a sounding board for you to make informed decisions that support your business. No matter what your age (but especially if you’re young), you deserve to be rewarded for your new and innovative creations! And intellectual property is there to ensure you do just that.  

Like many budding entrepreneurs, Nick, the London-based founder of Storm Skin has never been short of ideas, but as a first time entrepreneur, he had always hesitated when it came to launching. We are happy to say that with our help, Nick was able to gain the confidence and tools needed to take the plunge and launch his bicycle cover business. We spoke to him to find out more about his start-up journey.

“Storm Skin was born out of personal frustration. As an urban cyclist with limited space, I have no choice but to store my bike outside. A bike cover is an essential item to prevent your bike rusting and seizing up. However, the only bike covers available to buy were cheap, flimsy and prone to ripping. What’s more, they were poorly fitting and tended to spend more time on my next-door neighbour’s hedge than covering my bike. So, we built a bike cover that worked. 100% waterproof, easy to fit, durable, unrivalled protection from wind, rain and UV. Simple. 

My first interaction with the BIPC was at Start-Up Day in 2018 and since then they have played a pivotal role in the development of Storm Skin. The Start-Up Day event inspired me to move beyond daydreaming about running my own business to taking steps to make it happen. Once I had taken the decision to proceed, I booked a one-to-one session with an expert from the BIPC. We discussed the lean start-up methodology, and I was able to learn more about the electronic resources available at the BIPC in the British Library. Over the following months, I regularly visited the library, using Mintel databases to research my consumer and market. 

They also supported me with exploring opportunities to export my product into the EU. This included providing links to resources as well as workshops run by their partner organisation (Enterprise Europe Network). The information the BIPC provided demystified the complex process of exporting, particularly the new rules and regulations post-Brexit. 

Another key area that the BIPC supported with was constructing my IP strategy. I attended a workshop with expert IP lawyers, which provided me with more information on trade mark protection, design registration and patents. Armed with this info I was able to decide the level of protection I needed, whilst remaining within my budget.

Finally, I was also helped with the sourcing of my product. Through their monthly Inventor’s Club I was able to meet Bob and Richard, two product experts and serial entrepreneurs, they explained the basics of sourcing products from target pricing to prototyping. Through Richard, I was also able to meet Katy, who helped me to approach factories with my idea.

The best business advice I was given was that innovation comes in many forms. Incremental innovation is as valid as revolutionary innovation. It is not always necessary to create something completely new. Many great business ideas are improvements on existing products. In my spare time, I like to spend time with my family. I have two children under five, who keep me busy and help give me perspective when I’m having a tough day. 

The book that most influenced me was the FT Business Start-Up guide. This book has a step-by-step checklist for setting up a new business. I found it invaluable, allowing me to break down the process into bite-size tasks. The book also ensured I didn’t miss anything (product protection liability anyone?).”

Is your business idea still a daydream instead of a reality? Visit our workshops and events page to see how we can inspire you to take the next step. 

If you were to hear the names, Professor Plum, Colonel Mustard or Miss Scarlet, the board game Cluedo, might immediately come to mind. And for good reason too. The game is a part of so many of our childhoods.

It’s almost eighty years since the idea for what we now know as Cluedo was first pitched to Waddington games by Anthony Pratt, musician and factory worker at the time. Yet, would you think of it as a Leeds innovation?

Illustration of Cluedo board game from trade mark GB50000000001364562

The story goes that he was inspired with his wife, Elva Pratt, to create a board game based on some of the live murder mystery games played in country houses that were popular at the time. The Leeds games company saw the potential of the idea right away and did a deal with Pratt.

The eponymous company was founded by John Waddington in Leeds. Its brand has been a household name in Britain for much of the 20th Century. If you could time travel back to any post war decade and take a peek into any games cupboard in any home in Britain, you’d likely find at least one Waddingtons’ game. Probably more. A household name is not an over statement.

So this was certainly a magnificent opportunity for both games inventor and manufacturer. Waddingtons was becoming a local Leeds institution and their reach would be pivotal to the success of Pratt’s invention.

But what was really the key to making Cluedo such a household name around the world? The answer is in three rather forgettable words, intellectual property rights. Here we see Cluedo’s widespread success and the collaboration between Anthony Pratt and Waddingtons as a fascinating case study in intellectual property (IP) and why these rights are so important.

We’ll see how and what lessons we can learn for a new generation of games inventors (and anyone else).

Monopoly right?

Waddingtons built their early success on another game, which also just happened to become a household name. The new American game, Monopoly. They had the exclusive licence from US maker and rights holder, Parker Brothers, to make and sell in the UK. A very savvy move as it turned out, as the favour was swapped with Parker Brothers eventually obtaining the licence for Cluedo (or Clue as it was rebranded in the US).

So the first lesson here is that being a licensor (the owner of the IP rights) and the licensee can (and should) work in both party’s interests.

It certainly worked for Waddingtons, as Monopoly’s success put them in a strong position to develop more games. Cluedo (and Anthony Pratt’s idea) came at just the right time in the company’s growth potential.

But what of the inventor; how would Pratt protect his idea?

Patently obvious answer

Interestingly, Pratt patented the idea for Cluedo back in 1944. Though if you search for any patent called Cluedo, you won’t find it (for reasons to be explained).

Pratt’s patent specification GB586817, Improvements in Board Games, is a fascinating patent. You can view the original here. A patent is a particular type of IP protection for inventions and/or processes. It is usually technical or mechanical in nature, so it’s interesting to read how a game could be considered as such.

Illustration of cards and weapons from patent GB_586817_A

Here’s an extract from Pratt’s original patent, outlining the process in playing Cluedo. Anyone who’s played it may well understand the selected extracts;

A board game comprises a board divided into areas representing rooms of a house connected by small squares… ten differently coloured movable pieces representing persons, nine tokens each representing a weapon, and a pack of cards having three suits, one suit containing nine cards which correspond with nine of the rooms… The object of the game is to identify a hidden combination of three cards, one from each suit, as a result of information accumulated during play.

The patent for what we know as Cluedo was granted (meaning finally approved by the Patent Office) in 1947.

This gave Pratt, ownership and rights over the game and the ability to sell or licence the process behind the game to any games maker. Owning the patent also provided him a way to oppose any unauthorised copying.

It raises the question, can you still patent a board game today?

Patents and games

The bar is much higher today to be able to patent a board game. That’s because the same criteria apply, that is the games’ process, or method have to be non-obvious and never been done before. It’s actually more difficult to come up with a really new games process that is truly an innovative step.

It’s also the more costly of the IP rights and takes the most time. There are other IP options, the same ones that Waddingtons also used.

Illustration of Cluedo board from patent GB_586817_A

Copyrighting a game

Copyright is an automatic and unregistered right, meaning the creator owns it as soon as it’s created. Putting a copyright sign, naming the owner and year of creation on the game is a simple and legally recognised way of asserting your IP rights.

Copyright applies to all artistic and written creations. It includes visual elements, wording and designs incorporated into the whole board game, and all can be considered copyright. If, there was ever any copying of a games look or distinctive elements, the creator can seek redress as an infringement of their copyright.

One other IP right called registered design, can sometimes be used. Especially if there is an element of the game that is three dimensional, such as player tokens.

The other very important IP right in relation to games is the trade mark. You can find more information about IP and board games by reading our Industry Guide.

Protecting the name of the game

The appeal to the game Cluedo is in the name, Cluedo. That may sound like stating the obvious but the creation and use of the name is another very important ingredient in a game’s success. The original name for Pratt’s game was Murder! But the one of Waddington’s company executives, Norman Watson, who ran with the idea promptly changed the name to Cluedo. Which was an apparent play on a Latin word ludo, meaning ‘I play’. A clever games title and eventually a brilliant, valuable trade mark.

Here is a wonderful marriage of concept and process (the patent) with the branding and name (the trade mark), topped with a visually appealing board design and unforgettable player names (the copyright). All of these forms of IP protection acts as bricks in a defensive wall of 'idea protection'.

But if you own the trade mark, in practice you pretty much own the game.

Cluedo today

Our Leeds story goes global, as Waddingtons was purchased by American games giant, Hasbro in 1994. And so, Hasbro obtained all the IP rights to Cluedo. We can see that the registered trade mark for Cluedo is still active today. As well as the trade mark for the board game.

Hasbro have taken Cluedo into new directions. Interestingly, the design of the board game, with its various rooms and names is also now a trade mark. The company is using all means of protection to extend the life of the game and retain IP rights over it. It’s a way to safeguard the investment in its purchase. Is it hardly surprising when we see what a timeless success Cluedo has become?

In recent times there have been many Cluedo spin offs, including novelty versions of the game for the Simpsons and TV comedy Big Bang Theory. Back in the 1980s there were even computer game versions and film as well as a TV show in the 1990s.

It all goes to show how a great games idea, playing on our love of old fashioned parlour games, mixed with Agatha Christie style characters can create something as novel as a board game, lifting a name like Cluedo, to the status of iconic.

So who dunnit?

It was a Leeds inventor and games maker that brought hours of fun to families, down generations, around the world.

Jeremy O'Hare, Business & IP Centre IP expert

Female founded start-ups represent a growing share of investment activity – in the UK in 2011, only 11% of start-ups were women founded and by 2020, this number had risen to 32%. In the male dominated space of entrepreneurship, women founders are often underestimated and overlooked; while we have made progress, there’s still more to be done. To mark Women’s History Month, we’re delving into the experiences of two entrepreneurs we’ve supported to learn how they overcame discrimination in business.

First up is Innovating for Growth alumna Eleanore Richardson, who alongside her mother, Teresa, owns Fulham Scalp and Hair Clinic.

“My mum certainly has some stories of working as a black female entrepreneur and as I have entered the business with her in the last five years there are a few things that have brought me back down to reality in terms of the challenges that women face in business.

My mum has worked in the hair industry for the past 45 years. She moved from working in a salon to working from home as a hairdresser when she started her family; part-time availability for hair stylists wasn't a realistic career and banks wouldn't lend her the capital to open her own salon. She worked out of our utility room and bathroom for 30 years and with that income, sustained two children (and our many after school activities), a mortgage and bought a flat in Portugal.

Over those years, the banks slowly offered my mum an overdraft for her sole trader account but she never used it because she had always associated debt with poor financial management.”

When Eleanore was studying for her A-Levels, Teresa also stepped back into her own studies and re-qualified as a Trichologist. Soon after qualifying, she found a retail space that she could run her clinical practice from. However, even though she was a successful business owner for the past 35 years, she was asked for a guarantor to support her retail lease application. Financially independent and in her fifties, she didn't find this appropriate, but was forced to compromise by signing an eight-year lease with no break clause instead.

Upon realising that their business was making enough money to register as a limited company instead of a sole trader, Eleanore and Teresa went to several banks and opened a business bank account. Whilst one bank was happy to offer them a sole trader account with a £12,000 overdraft, the only business account they were keen to offer was with a £2,000 overdraft. They eventually went with another bank that offered a measly £6,000 overdraft and meant that their cash flow was still too tight to invest in growth.

Several years later, Teresa was ready to move clinics and they were in a position to develop their clinic hair care range into a product range ready to be sold to retailers. Despite presenting a business plan in an effort to increase their £6,000 overdraft, the bank turned them down. This made no sense to Eleanore, “I had been offered bigger overdrafts as a student earning nothing, yet here was a successful business that made money every year and had never had to dip into an overdraft, had grown organically year after year, and yet credit options were non-existent.” They postponed development of their range for three years out of fear that the investment would deplete their cash flow, and there were no obvious alternatives to financing that weren't fraught with high interest rates.

Fulham Scalp and Hair has also been operating in Luanda, Angola, which is Teresa’s birthplace. There she has a loyal customer base who have grown with her over the years but many customers and onlookers still don't understand how a business like theirs can generate enough interest and enough revenue to fund a satellite clinic in Luanda. “Rumours of my mother having a wealthy benefactor are always amusing, but depressingly remind me that the expectation for women to run a successful, international business is still questioned.

Last year an investor in Angola who was keen to buy a stake in our Angolan business propositioned us. When negotiations began, it emerged that he was only going to accept a majority stake in all of our business holdings internationally and was going to establish his own solicitor as a business consultant with a 5% stake. The mind boggles at how foolish they must have assumed an older black woman and her younger daughter must be.

This I find is the most common theme being a woman in business, and it hasn't really changed from the time of my mum starting her own business through to me joining and leading it. Women continue to be underestimated in their own businesses, and this seems to be particularly brutal for women of colour or for very young (looking) women. For mum she had been underestimated by so many of the services and employees previously hired, that it was a relief to work with her daughter who she could completely trust and not be on her guard with. Personally, I have had to correct solicitors, landlords and accountants on their own work and have even had one rep from an organisation ask if I need to chat with my "mummy" before signing off on membership.”

Our next business is The Fermentation Station, founded by Amy and Sam who received support from BIPC Liverpool in relation to their trademarking. We spoke to Amy to learn how her experience as an entrepreneur has been different to that of her partners’.

“Being a female business owner has its advantages and disadvantages. In Liverpool, having access to support through The Women's Organisation provides many advantages to being a female business owner in the city, but I believe this is a privilege that many don't receive.

Whilst it wasn't impossible to be a female business owner 30 or 50 years ago, the challenge was much greater than what we see in 2022. Things have certainly come a long way but we still have a lot of progress to make in how we view women in business.  I often think my Nan would have achieved even more remarkable things during her working years had gender roles been different back then. She was an outstanding woman with a genetic eye condition that she never let stand in her way.”

It is also important to encourage young girls into entrepreneurship, when Amy was in high school the only future presented to her was one of academia. “We were told that it was a safe route into employment that meant that we didn't need to rely on a man - can you guess I went to a single sex school! Whilst I am eternally grateful for the solid upbringing they gave me, the option of becoming an entrepreneur was not one that I was encouraged to explore. I think often this causes 'impostor syndrome' as we feel we aren't skilled for the role, whilst men are more likely to take the leap without second guessing whether they’re qualified to do so."

Having been a Company Director for six years between The Fermentation Station & H2A, Amy has built up confidence to present herself as a business leader and leave the impostor syndrome at the door. When asked about whether she has noticed a difference in the way she is treated by investors, suppliers or clients in comparison to Sam she pointed out that unconscious bias is always at play.

“I believe that many think that Sam is the driving force behind our business – that's until I open my mouth, and he is often granted commendations for behaviours that I perform regularly. When we have been challenged with difficult customers or stockists, who are unprepared to acknowledge or accept my response, I have now resorted to responding to them by pretending to be Sam; you would be surprised how quickly their tone & response changes when they believe it's a man they’re speaking to.”

Overall though, the advantages of being a female founder outweigh the disadvantages, Amy has been the company director of a mother-daughter team and a male-female team which have both been incredible experiences for her. “I think it's completely dependent upon the personalities of your fellow directors or founders, and with both businesses I held close personal relationships. Sam and I work well together not because we are different genders or sexes but because our working styles complement each other.”