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The Patriot Center at George Mason University, half an hour west of Washington, is a popular place to watch concerts, college athletics, professional wrestling and other events that attract the attention of the grown-up world. But no event in the arena’s 29-year history has attracted as many people or earned as much money as October’s “Disney on Ice Presents Frozen.” For six days, little blue-and-white Princess Elsas waves – and quite a few costumed parents – singing the film’s hit song “Let it Go” at the top of their lungs, enjoying £10 snow cones (shaved syrup-soaked ice ), on £15 cardboard cut-out pictures, and waved plastic sticks, which miraculously £18 became a magic wand.
How Much Money Did Frozen Make In Merchandise
See the bewitching power of branding. In the year since Disney’s latest princess movie, Frozen, opened last November, Elsa and her sister Anna have become two of the most successful product endorsements in the world. Disney said earlier this month that it had already sold three million Frozen dresses in North America, which is, as it happens, about the number of four-year-old girls in North America. In January, Frozen wedding dresses go on sale for £750. Next summer, Adventures by Disney is offering tours of the Norwegian locations inspired by the film’s animators, at prices starting north of £3,200. The company is also rolling out apples and grapes, juice, yoghurt, bandages and grapes with frozen branding. oral care line”. Disney estimates that Frozen brought in around £65m in retail revenue over the past year. The company’s chief executive, Robert A Iger, told CNBC that he expected holiday sales to be “very, very hot”.
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Frozen creators Jennifer Lee and Chris Buck tell me they sought to create characters that young girls would identify with. “I love Cinderella,” says Lee. “Am I anything like her? No. I grew up and became someone more.” Elsa and Anna are princesses, she says, because they have the weight of a kingdom on their shoulders, not as a solution to a happy ending”.
Lee and Buck realized their success, and then some, soon after the film’s release, when they went to see it like normal people. Lee found herself in a movie theater in New York where many of the audience already knew the words. Then she started listening to people singing in the street. A year later, they didn’t stop. Does she get tired of hearing “Let it Go”? It’s not. Still. “When I’m old, it’s the only thing left in my brain,” she says.
Brands are said to be in decline. Studies show that customers are less loyal to companies, faster to try something new. Products rise and fall more on their own merits. “Brand names are less important as proxies of quality,” says Itamar Simonson, a professor at Stanford University. He claims that consumers now get better information about products from the internet. But Disney, perhaps more than any other major company, seems impervious to the trend. It helps that the company is not selling products based on the quality of the craftsmanship but on the quality of its stories. Disney also specializes in selling affordable luxuries. Elsa’s dress is much more expensive than a normal dress, it costs like a cup of Starbucks coffee more than a normal cup of coffee. But it is not so expensive. Each of the many Frozen products at the Disney store costs less than £65. More important to Disney’s success, however, is that many of its best customers are still learning to read and no matter what the cost of things. It’s not like toddlers review Amazon.
As a result, Disney is in the midst of a golden age of profitability. Disney characters have been endorsing products since 1929, when Walt Disney put Mickey Mouse on a writing tablet. But licensing, which started as a sideline, is now the main event. In most years, Disney makes more money from selling branded movie merchandise than from the actual movies. “We create products that extend the storytelling—the emotional connection the consumer has when they see the movie continue in three-dimensional life,” says Josh Silverman, executive vice president for global licensing. A recent favorite, he says, is the Olaf snow cone maker. Based on the slapstick snowman who provides the comic relief in Frozen, he drops a frosty treat from a creepy hole in his belly.
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The popularity of Frozen is also expanding the toy market for girls. Princesses may be a permanent fixture of the toy scene, but they weren’t that popular before the 1990s. “The idea that a pink princess fantasy dream doll has always been a part of girlhood is false,” says Elizabeth Sweet, a lecturer at the University of California, Davis who studies the cultural history of toys. Dr Sweet has found that the popularity of gender-neutral toys peaked in the mid-1970s. Since then, toy makers have embraced the market doubling effect of pushing certain toys for boys and others for girls. Dr Sweet says the level of gender segregation has never been higher. A big box store might have four aisles of blue toys and four aisles of pink toys with an aisle of yellow toys in between. “Separate but equal,” she says. Lego, for example, grew from simple packages of building blocks to playsets sold mostly to boys, often with brand ties. In 2012, the company introduced Lego Friends, which is basically Lego for girls.
Disney really started focusing on princesses in 2000, after a new executive went to see a Disney on Ice show and was struck by how many of the girls in the audience were wearing homemade princess costumes. “They weren’t even Disney products,” executive Andy Mooney told writer Peggy Orenstein for her book about the rise of princesses, Cinderella Ate My Daughter. The Disney Princess line now makes around £2.5bn a year, on par with the earning power of Mickey Mouse himself. (The Frozen girls are not, as yet, official members of the Princess ensemble.)
This market has similarities with, of all things, the American pharmaceutical industry. Drugs are marketed to patients, who trust brand names over generics, and insurance companies pay for them under their contractual obligations. This has an inflationary effect on drug prices, causing an eye-popping number that sends uninsured Americans fleeing US pharmacies to try their luck in Tijuana. Likewise, toys and the like are marketed to children and bought by parents. People who would never buy themselves a £10 snow cone will happily or glumly buy one for each of their children.
Disney movies have always been a cash cow, but the success of their latest hit shows that it’s not all about bums on seats these days.
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Please refresh the page or navigate to another page on the site to be automatically logged in. Refresh your browser to be logged in. Disney’s ‘Frozen’ has made millions for merchandise — but some of them are Elsa tired. .. [+] (Photo by Cindy Ord/Getty Images for FELD Entertainment)
$1.3 billion gross at the box office – and maybe as much in licensing merchandise. But not all vendors are happy with the movie’s overall business, according to a new industry study from the International Licensing Industry Buyers Association (LIMA).
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And Elsa — accumulated $107.2 billion in retail sales. The category also accounted for 46% of the total $13.4 billion in royalties from licensed merchandise. The Disney property was credited with being the main driver of shares, to the frustration of some of the 490 company respondents in the survey.
Like having too much of a good thing. “It gave retailers back the sense that they can sell a character license across the store,” but it was also seen as a “freeze” of other attractive licenses because the retailers were overwhelmingly supportive of Elsa and Co. at the expense of placing other licensed items on the shelf.
House of Mouse, which recorded revenue of $48.8 billion in 2014, makes money by licensing its characters for use on third-party products such as toys, bedspreads, pencils, lunch boxes, sandals, and so on. He earns royalties based on a fixed percentage of the retail price — the more products, the better.
, we may now be seeing what one LIMA Respondent called “brand fatigue.” The oversaturation of entertainment and celebrity properties has been cited as a negative trend that minimizes the shelf space available to all, although Disney does not seem to be suffering.
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Disney consumer products reached $3.99 billion in sales during fiscal 2014, with a healthy profit of $1.36 billion. Its licensing and publishing revenue jumped 12% to $2.54 billion driven by performance
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