The Sweet Smell of Success

The Sweet Smell Of Success
October 22, 2009

Recording artists bottle their success

GRAMMY.com
Nick Krewen

Tim McGraw and Faith Hill have not only experienced the sweet smell of success, they’ve bottled it.

Country music’s first couple has a couple of new scents on the market — Faith Hill Parfums is her first and Southern Blend is his second — and they are just two of the music celebrities that have been tapped by Coty Inc., the world’s largest fragrance manufacturer with annual net sales of approximately $4 billion.

The list of artists sporting one or more of their own perfume or cologne brands run from the obvious (Mariah Carey, Jennifer Lopez, Britney Spears, and Gwen Stefani) to the enterprising (Sean “P. Diddy” Combs, Jay-Z and Usher) to the unexpected (rapper Daddy Yankee, guitar shaman Carlos Santana and cosmetic rockers KISS).

The fragrance industry also seems to be impartial to genre, with American soprano Renée Fleming, pop/punk princess Avril Lavigne, hip-hop icon Queen Latifah and influential innovator Prince all offering aromatic toiletries for public consumption.

Why are stars so keen to extend their aural appeal to the nasal? Well, there’s the obvious answer: money. Fashion newspaper Women’s Wear Daily speculates that Beyoncé‘s upcoming Coty fragrance will be one of 2010’s most-anticipated spring debuts and could earn her $20 million over three years.

Karen Grant, vice president and global beauty industry analyst for the NPD Group, says helping to create a representative scent can be another expressive outlet.

“Sometimes celebrities say, ‘We’re not just about making another record,’ so being associated with a fragrance is a statement saying, ‘We’re an artist. We’re looking at this as an expression of our artistic talent.’

“It’s a great way to earn huge recognition across the country. And fans, who may not have the new album, can have a little piece of that celebrity as well.”

In many cases, it’s an affordable piece of celebrity. A 1.7-ounce bottle of McGraw’s Southern Blend — described as “a vibrant burst of grapefruit, star anise, and bergamot” that also incorporate touches of lavender, violet leaves, whiskey accord, vetiver, fresh amber, and tobacco to “create the ideal fragrance for the true Southern gentleman” — can be purchased in department stores or online for a suggested retail price of $30.

As Grant notes, this can be very appealing to fans. “If you’re a huge Britney follower, you’d want the scent as well as the albums,” she says.

It was Spears — along with Lopez and her fragrance Glow — who accelerated the trend of companies recruiting contemporary music stars to invent and introduce new fragrances when she entered the market in 2004 with the Elizabeth Arden brand Curious, which earned $100 million in sales within weeks of its release.

“Those two were such huge hits, really, that they helped to ignite this whole trend of associating the musician with these fragrances,” Grant explains. “So I think that’s when both the musicians as well as the manufacturers began to look and say, ‘This seems like it could be a winning lineup.'”

And it’s certainly been victorious for Spears. Women’s Wear Daily reports that more than 10 million bottles of Curious, Fantasy and In Control have been sold since 2005, and Spears has expanded her franchise this year with the additions of Circus Fantasy and Hidden Fantasy.

Since then, approximately 40 artists from Shania Twain to Hilary Duff have taken the plunge, with hit fragrances — like music — tracked weekly by Nielsen SoundScan.

So how do pop and rock stars come to release fragrances?

Steve Mormoris, senior vice president of global marketing at Coty Beauty (whose musical clients besides Hill and McGraw include Celine Dion, Lopez, Kylie Minogue, Stefani, and Twain), says his company approaches artists based on a number of criteria, including role model potential, someone who “holds high values” and how much they embody the essence of femininity or masculinity.

In all cases, he says Coty is looking for a long-term relationship and an artist “who wants to become involved with the fragrance” from development through execution.

With estimated launch costs of “not less than $2 million,” on the line, Mormoris says extensive market research is conducted before a brand is launched. “We don’t put out a fragrance until we’re absolutely certain it’s going to be a success,” he explains, adding that celebrities are usually paid on a royalty basis as opposed to a flat fee as an incentive, “ensuring that artists are involved for the life of the product.”

Mormoris says hits are determined by sales-generated value and market share percentage, rather than number of units sold, and that the average celebrity scent has a shelf life of five to 10 years.

“The exceptions are Stetson and Elizabeth Taylor‘s White Diamonds, which has been the no. 1 fragrance for the past 20 years,” notes Mormoris. “They’re exceptions to the rule.”

While celebrity popularity can drive fragrance sales, packaging also plays a crucial role.

“As new celebrity fragrances come out and they encompass novelty in design and fun, they still do well,” says Grant. “For example, Gwen Stefani’s Harajuku Lovers collection was among the best sellers in 2008.

“We do see that younger consumers do tend to resonate with packaging more as well. Since these celebrity fragrances do tend to be more popular with the younger consumer, it’s usually a pretty winning formula.”

Still, there are signs that the celebrity fragrance market may be waning. NPD Group recently reported a 10 percent drop in prestige fragrance retail sales for the first half of 2009.

If sales are flagging, Mormoris hasn’t noticed.

“I keep hearing about it,” laughs Mormoris, who names the Dion and Minogue fragrance lines as two of Coty’s best performers. “But I haven’t seen it.”

(Nick Krewen is a Toronto-based journalist who has written for The Toronto Star, TV Guide, Billboard, Country Music and was a consultant for the National Film Board’s music industry documentary Dream Machine.)

Ariana Grande takes flight at the ACC: concert review

The young “Problem” singer proves she’s got longevity, with a surprisingly under-utilized voice and a large, smartly G-rated production.

Nick Krewen

Music, Published on Mon Mar 09 2015

 

Ariana Grande
3 stars
At the Air Canada Centre, March 8

Merchandisers did brisk business on plastic glow-in-the-dark cat ears Sunday night at the Air Canada Centre.

The significance?

At least a couple thousand girls — the audience was probably 90 percent female, ranging from 5 to 45 — wore the headbands as both a sign of allegiance and a nod of respect to headliner Ariana Grande and her prior career as a TV actress, portraying the character Cat Valentine on the Nickelodeon shows Victorious and Sam and Cat.

That was before, of course, Grande decided to go the route of so many Disney-era teen actors, and stake a domain in pop music.

And although she’s only been at it a relatively short time — Yours Truly in 2013 followed by My Everything in 2014 are her only full-length releases to date, along with a bevy of guest slots on other collaborations — the 21-year-old exhibits enough drawing power to fill the Air Canada Centre with approximately 14,000 screaming fans, indicating she’ll probably be around for a good, long run.

As the charismatic, pony-tailed Grande — also sporting the cat ears accoutrement for a generous portion of her 90-minute set — proved repeatedly throughout the evening, she certainly has the performance thing down pat, exuding both the calm and confidence, poise and professionalism that are expected of today’s millennial pop stars.

It’s almost as though there’s a list of seven commandments that they all subscribe to:

1. Thou shalt employ a large team of impressive dancers to exercise some meaningless, forgettable choreography.
2. Thou shalt have a large band supplemented with a DJ and a (in this case, a three-piece) string section.
3. Thou shalt include canned harmonies.
4. Thou shalt pull out all the bells and whistles one would expect in a top-flight production: fireworks, confetti, dry ice, lasers, video, more fireworks, more confetti, and at least one explosion.
5. Thou shalt employ the use of hydraulics to hover above the crowd at least once, nay twice, during any concert tour.
6. Thou shalt have a video cameo of any high-profile guest (usually rap) collaborator to insert where appropriate. Grande’s boyfriend Big Sean appeared on screen during “Best Mistake” and “Right There,” unlike Saturday’s show in Detroit, where he appeared in person.
7. Thou shalt have a minimum of five or six costume changes because, well, you’re hot.

Ariana Grande fulfilled this particular manifesto, using the fourth commandment to the best of her abilities: all that stuff happened in the opening high-octane number “Bang Bang.” The hydraulics came as the singer hovered above the stage on a cloud and, almost immediately afterwards, a giant chandelier.

But this Grandestanding is not what separated Ariana from the rest of the TV-weaned pack. In fact, there was a trio of characteristics that, in this scribe’s opinion, bodes well for her future.

The first is that amazing, almost underutilized voice of hers: she sounds like Mariah Carey with restraint (and believe me, that’s a compliment). There were times when her band overpowered her — and some of that could have been due to the cold she said she was suffering from — but when she took a solo spotlight, as on “Honeymoon Avenue,” there was a lot of soul and believability. You can’t say that about many of today’s TV ingénue converts.

The second is that Grande gave her audience a G-rated show — when was the last time you witnessed a tap-dancing DJ? — and was mindful that her audience contained a lot of young impressionable girls who obviously idolize her. She was sexy and romantic in songs like “Hands on Me,” but not overtly so, and of course, blatantly aware of her cuteness enough to play it up through video intros.

But the biggest promise she showed also happened to be probably the most boring part of the show. During one of the many costume breaks, Imogen Heap — one of Grande’s influences — appeared on screen to talk about this dull new invention she concocted: computerized gloves that allow her to manipulate her voice live in performance.

To her credit, Grande tried them, sounding like a Vocoder experiment that Neil Young pulled off during his Trans era as she harmonized with herself.

It was a pointless exercise that probably baffled her fans more than it entertained them, but the fact that Grande is open enough to experiment reveals an imagination that will elevate her game with subsequent releases, indicating she’s not going to be satisfied with simply being famous for fame’s sake.

As she saved the best for last — an energetic take on “Problem” and the blood-rushing burst of “One Last Time” — Grande left her fans happily buzzing about a well-consummated production, and with the anticipation that the so-called “Honeymoon Tour” was just a taste of what’s to come.

One quibble: if you happened to be in the first row, your sight lines were obstructed by monitors that prevented you from seeing everything that was happening on stage, despite the presence of video screens.

Not cool, but thank god for the catwalk.

Ariana Grande takes flight at the ACC: concert review | Toronto Star