After a decade of double-digit sales growth skidded to a halt in
2017, family-owned Lego has returned to form since chief
executive Niels Christiansen took the helm that year.
The company, which fights for market share in the global toy
industry with the likes of Barbie maker Mattel <MAT.O> and
Hasbro <HAS.O>, said on Wednesday sales rose 6% last year to
38.5 billion Danish crowns ($5.7 billion), up from 3% growth in
2018.
"It was a strong year where we outperformed the toy industry,"
Christiansen said in a statement.
In February, Mattel reported flat annual net sales, while
Hasbro, the firm behind My Little Pony, saw net revenue rise 3%.
Lego estimates the global toy market contracted 3% last year.
But it grew sales in all its major markets, including "strong"
double-digit growth in China, it said.
The firm, which has 570 stores worldwide, more than doubled its
number of stores in China last year to 140. It sees that number
rising to 220 this year.
Christiansen told Reuters he would aim for single-digit revenue
growth again in 2020, to allow for further investments into IT,
new stores and production innovation.
Net profit in 2019 rose just 2.8% to 8.3 billion crowns, partly
due to higher expenses, which increased 8.2%.
Despite strong sales from popular licensed Lego products such as
"Harry Potter" and Marvel's "Avengers", the top-selling products
were from ranges such as Lego City, Lego Classic and Lego
Technic that have been around for decades.
"Of course, those are older themes, but as you know, we replace
60% of our products each year," Christiansen said.
"We actually consider these themes 'evergreen', which constantly
need to be relevant," he said, adding they gave "play
experiences like the one you would get outside your door."
But Lego, an abbreviation of "leg godt" meaning "play well" in
Danish, is also banking on technology to stay up to date with
new generations.
It saw 27% more traffic on its recently transformed website, and
launched "Hidden Side" last year, which combines regular
building sets with augmented reality.
(Reporting by Nikolaj Skydsgaard; Editing by Mark Potter)
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