The affluent, luxuriant lives of the "Dynasty" cast have enraptured a faithful audience weekly since 1981. Perhaps such viewer vicariousness explains why it has also sparked the most successful merchandising campaign of any adult television series ever. Other dramas may follow the schemes and machinations of rich, powerful families; however, none has translated its screen prowess into licensing preeminence like that of "Dynasty."

"This is the first time an adult property has ever been merchandised so well and so long," says Karen Spitz, vp of Licensing Corporation of America, the Warner Company that assumed licensing responsibilities four years ago. " 'Dynasty' was licensed with a very upscale image in mind. The show represents the exciting life of the Carringtons, a life style of luxury and wealth. Furs, jewelry, cars, fashion apparel and accessories are a very important part of the show."

As "Dynasty" enters its ninth year, best-sellers include RevIon fragrances, After Six formal wear and Gorham household accessories. Scents "Forever Krystle" and "Carrington," launched in 1984 and 1985, respectively, by Charles of the Ritz before its acquisition by Revlon, will rack up an estimated $30 million at retail this year. Image and aura become paramount selling points with products requiring subjective consumer decisions, and the pre-sold "Dynasty" cachet provides a perfect promotional association.

John Forsythe and Linda Evans, for example, appeared at a Revlon party at chic New York eatery Regines, while male cast members have modeled in fashion shows and advertising campaigns for the After Six formal wear line. Regional celebrity appearances at retail promotions in chains like Bloomingdale's help stimulate sales and cross-promote other licensees' products. Alfred Angelo's bridal dresses and accessories have fit well with the formal wear line. "A store will advertise, and everybody will flock into the store to get the star's autographs," says Spitz. "These events create a very, very exciting approach to hype the product."

Recently, the show's emphasis on younger cast members has been reflected in the merchandising look. Home furnishings and house wares have become especially popular, including Gorham's crystal, silver and china, Imperial's wall coverings and Cannon Mills' domestics.

"Esther Shapiro has been very involved with all products from beginning to end, approving whether we licensed a company or not," says Spitz. "She follows what approach they take, even down to the nitty-gritties of not liking a bow in a certain place ... She really believes in all of the products that were licensed. She's gotten samples of them all, tested them, used her influence in having them used on the set - whether it was the comb, mirror and brush set from Gorham, or the lingerie, handbags, jewelry, whatever. And Nolan Miller, the costume designer, felt the same way, asking all of the people who were licensed to provide him with as much product as possible to use when appropriate.

"'Dynasty' is a fantasy, and has loyal viewers who identify with this fantasy," Spitz continues. "However, it was mostly the people in middle America who would actually want to go out and identify with a 'Dynasty'-licensed product, so what I did was take the approach a little bit differently from the upscale market."

As a result, distribution has traveled smoothly along the potentially rocky road from specialty shops to department stores to mass merchandisers. Along the way accessibility has risen as dramatically as price points have fallen, and the resultant increases in sales volume signal the success of this approach.

Spitz likens this shift in the channels of distribution to her recent success with a line of clothing by Vanna White. But then again, handling the biggest stars of an era is nothing new to Spitz. A 20-plus-year veteran of the licensing business, she started with such 60’s superstars as Batman and James Bond, moving through to such highly successful shows as "The Dukes of Hazzard."

But while consumers see (and hopefully buy) the end result, Spitz knows the intricacies of licensing and merchandising: "I'm involved from the first drawing to the ad campaigns to hangtags, labels, production samples, etc. Long lead times are necessary sometimes for packaging and approvals - making sure all the TM’s and R’s are in the right place." For the consumer, "it's all fantasy and image of what that label or hangtag represents."

A prolific composer of film and television music, Bill Conti was born on April 13, 1942 in Providence , Rhode Island . He learned piano from his father, and later took up the bassoon. While studying composition at Louisiana State University , Conti also performed with the school's symphony orchestra, spending his evenings playing jazz in local clubs.

He subsequently earned his Master's degree from Julliard before relocating to Italy in 1967. There he first broke into films, composing and arranging music for productions including "Juliette de Sade" and "Candidato per un Assassino". In 1971 Conti scored Vittorio de Sica's Oscar-winning "Il Giardino dei Finzi-Contini", bringing his music to the attention of the international audiences; he subsequently returned to the U.S. , where he composed the soundtracks for features including 1973's "Blume in Love" and 1974's "Harry and Tonto".

Conti shot to fame in 1976 with his score for "Rocky". The soundtrack album went platinum, and the main theme, "Gonna Fly Now," topped the U.S. pop charts. Conti and star Sylvester Stallone subsequently reunited for chapters two, three and five in the "Rocky" series, as well as 1978's "F.I.S.T." and "Paradise Alley". In 1981 he scored the James Bond feature "For Your Eyes Only", scoring a Top Five hit with the title track, sung by Sheena Easton. After two previous nominations, Conti won an Oscar in 1983 for his work on "The Right Stuff".

At about the same time he became a prolific composer of television themes, writing music for series including "Dynasty", "The Colbys", "Falcon Crest", "Cagney and Lacey" and "Lifestyles of the Rich and Famous". He also served as musical director for a number of Academy Awards telecasts, winning an Emmy for his work at the 1992 ceremony.  

By Harvery Solomon

The Hollywood Reporter

January 10, 1989