Why Legos Are So Expensive — And So Popular

Smartkids Playlego

There's a question that echoes across the Internet, on blogs and message boards, and in the content of a specialty wiki called Brickipedia: "Why are Legos so expensive?"

Today Smartkids get some answer for you
"Sorry for the uninvited rant, but what is the deal with the price of Legos? They're little blocks of molded plastic. $240 is a good deal for this?"

"Any fans of Lego notice that, even if the price were cut in half, they'd still be expensive as hell?"

"The price of Legos has always sucked, especially for a kid trying to convince his mom to buy the sets. The larger sets sell/sold for anywhere between $60-$120."

"The price of Legos reminds me of gold stock prices."

Perfectionist Beginnings
Lego bricks and minifigures (to use the official term for the tiny yellow mannequins that represent humanity in the world of Lego toys) are made by the LEGO Group, a privately held company headquartered in Billund, Denmark. Founded in 1932 by a carpenter named Ole Kirk Christiansen, the LEGO Group "has passed from father to son and is now owned by Kjeld Kirk Kristiansen, a grandchild of the founder," according to the company website. Despite being private and family-controlled, the LEGO Group is the third-largest toy manufacturer by sales, behind Mattel (MAT) and Hasbro (HAS) and ahead of Japanese giants Bandai-Namco and Takara Tomy.

According to the LEGO Group, Ole Kirk had a personal motto worthy of a luxury car brand -- "Der bedste er ikke for godt," or "only the best is good enough" -- which his son, Godtfred Kirk Christiansen, carved on a sign and hung on the wall of his father's workshop. LEGO has undergone drastic changes since Ole Kirk's days -- most notably, the switch to making plastic toys, which were introduced in 1947 in general skepticism (sort of like when Dylan went electric, from the sound of it) -- but the company insists on continuity, and a strong sense of purpose shines through even the standard corporate boilerplate in its promotional material: "Today, the words of the company's founder remain its driving force, and LEGO products continue to be passed down from one generation to the next, sparking the creativity and imaginations of millions of children and adults all over the world."

What's so remarkable is how this internal ethos of perfectionism has been transmuted into such a strong brand. The product is so ubiquitous -- like Kleenex, only non-generic -- it's easy to overlook that the LEGO Group does not in fact enjoy a total monopoly: Its main competitor, Montreal-based MEGA Brands -- another family-run business, which styles itself after LEGO and sells a line of knockoff toys called MEGA Bloks -- claims to be No. 1 in the preschool construction toy segment. (The LEGO Group, whose patents on its brick have expired, suffered repeated defeats when suing to stop the manufacture of MEGA Bloks.)

The Emotional Factor
But MEGA Brands, though it makes a similar product, can claim none of LEGO's prestige. The difference is both technical and aesthetic, according to several branding experts contacted by DailyFinance. 

"If you ever looked at a MEGA Bloks set, and then you looked at a LEGO set, you would definitely spend the extra money," Manfred Abraham, head of brand strategy at Interbrand, assured me with quiet conviction. (Abraham has worked with the LEGO Group -- on what he would not say -- and seems to have been dazzled by the experience.) Anneliza Humlen, president and co-founder of the Emotional Branding Alliance, points to "the Scandinavian aesthetic of design," which she says is part of a "very frank, honest, direct and practical sensibility that the culture has. Scandinavian design is about simplicity, stripping back, the notion of craftsmanship, working with the hands." 

But the true foundation of LEGO's appeal is emotional. The company's longevity and the durability of its products have created intergenerational links that exert strong influence on purchasing behavior: People want to pass on to their children the most intensely pleasurable play experiences they remember from their own childhoods. In the words of Amy Shea, executive vice president at the research consultancy Brand Keys, "The ultimate question comes down to, how would I feel about giving my grandson fake Legos? I wouldn't do it. Even if I thought they wouldn't know the difference, I would know the difference. The knockoffs just don't have that emotional meaning." 

In a sense, with "parents and children united" on the question of LEGO's quality (as Shea put it), advertising becomes less important -- the purpose of advertising aimed at children being to induce incessant nagging. Of course, the LEGO Group works strenuously on marketing, through its stores, video games, theme parks, and traveling exhibitions, the last of which in particular can excite strong aspirational feelings in kids, according to Shea: "They look at that and go, 'Wow -- look at the amazing things they made with Legos.'" But at its best, LEGO marketing presents a hands-on experience that turns the child into an active participant, rather than a passive, covetous consumer.

"You can see it in the LEGO stores today," said Humlen. "The display is very reminiscent of when you buy candy in bulk: You walk in and see the blocks, presented according to color, which is very unusual. It's visually beautifully but most of all it's inspiring, when children walk in and see this wall of color, just open to them." Humlen mentioned also the popularity of the LEGO stores' miscellaneous block collections, which sell "odds and ends of pieces that belong in other kits." Shoppers "grab a kit and then they grab one of those random bags. It's kind of this open palette, this cornucopia, that gets somebody inspired to create." 

In addition to such intangibles as nostalgia and presentation, the LEGO Group benefits from a commitment to innovation. "They have a higher turnaround in product than most other companies will have," Manfred Abraham said. "They're turning over as fast as fashion, because they believe you have to keep kids entertained and that takes changes all the time." And LEGO has devised a range of products that can track the user's development, from preschool to college, culminating in significant sophistication. Said Humlen, "They go from Duplo" -- a line of oversized pieces for very young children -- "to the Mindstorms robotics kits, which is amazing because, last I read, Mindstorms were being used in university engineering courses."

"Anything that builds your creativity -- how do you put a price on that?" Abraham asked. "It's like a piece of designer clothing that makes you feel good."