Decoding the Cultural Logic of Trendy Toys and Emotional Consumption

In recent times, a peculiar character named Labubu has surged in popularity, captivating the masses with its furry appearance and mischievous gaze. Unlike the conventionally cute and polished toys of the past, Labubu possesses a unique charm that resonates with a wide audience.

The Origins of Labubu

Labubu is the creation of Hong Kong-born artist Kasing Lung, who draws inspiration from Nordic mythology and folklore experienced during his upbringing in the Netherlands. Initially, these characters were whimsical sketches brought to life with a pen. Over time, they evolved into highly sought-after collectibles.

Labubu made its debut in 2015 but gained significant recognition in 2019 through a collaboration with POP MART. From plush toys and keychains to vinyl collectibles, various iterations of Labubu were rapidly commercialized, fueling collectors' fervor. In April 2024, BLACKPINK's Lisa was seen with a Labubu, which unexpectedly propelled the character into the spotlight.

This event triggered a surge in popularity in Thailand and Southeast Asia, leading to remarkable sales.

The artistic value of Labubu has also been amplified. In June of this year, at a Beijing Yongle auction, a life-size Labubu artwork fetched 1.08 million RMB, with total sales reaching 3.73 million.

A Harmless Rebellion?

Labubu's sudden rise to fame has sparked curiosity and discussion. The character's popularity has spread globally, with POP MART stores in major cities like Paris, New York, and London frequently selling out of Labubu dolls. Fashion-conscious Parisians have even been seen incorporating Labubu into their outfits, sharing their looks on social media.

The rise of Labubu can be attributed in part to the influence of BLACKPINK's Lisa, who openly expressed her affection for the character. Lisa's genuine enthusiasm for Labubu resonated with her fans, further amplifying its appeal. In Thailand, young people have embraced Labubu as more than just a toy or accessory, transforming it into a cultural phenomenon.

They have incorporated religious elements into Labubu designs, such as Yantra patterns, and even incorporated the character into tattoos or religious symbols for good fortune.

Labubu's origins can be traced back to a 2015 picture book by Kasing Lung titled The Monsters Labubu. The book, which has since become a collector's item, features a mischievous sprite from Celtic folklore known for its pranks and ability to shapeshift.

This mischievous nature aligns with the image of Labubu, who embodies a sense of harmless rebellion.

Like other popular characters, such as Grey Wolf and Nezha, Labubu possesses a chaotic energy that disrupts the norm. This resonates with individuals who seek to express their own harmless acts of rebellion. However, the ease with which these symbols can be replicated in a consumerist society can dilute their original meaning.

The Evolution of IP

One of the defining characteristics of Labubu is that it does not have a fixed narrative. Instead, individuals can project their own stories and emotions onto the character. This aligns with the evolving nature of IP, where mass recognition is achieved through repeated exposure and distinctive imagery rather than complex storylines.

POP MART strategically positions its stores in prime locations, such as luxury shopping districts in Shanghai and Thailand. This association with high-end brands elevates the perceived value of the toys and encourages consumers to display them as status symbols.

Labubu represents a shift in the relationship between humans and objects. People project their emotions onto the character, forming a connection that transcends the traditional human-centric view. This phenomenon has sparked discussions about the emotional politics of trendy toys and their ability to reflect contemporary emotions such as apathy and anti-establishment sentiments.

The Allure of the Arbitrary

The immense popularity of Labubu raises questions about the underlying reasons for its success. While cultural and aesthetic factors play a role, there are also arbitrary elements at play. Despite the existence of similar characters within Kasing Lung's Monster series, Labubu has garnered unparalleled attention.

According to cultural journalist David Marx, members of status groups are expected to emulate specific behaviors and adhere to group norms. While the selection of these norms may seem arbitrary, individuals are more likely to conform than to deviate. In the case of Labubu, its popularity has made it a default choice within certain social circles, leading to its widespread adoption.

Blurring the Lines Between Art and Commerce

Trendy toys like Labubu often exhibit characteristics of randomness and chance. Originally a niche category in the 1990s, trendy toys have experienced rapid growth since 2016. This growth has been accompanied by an increase in female consumers, who now constitute the majority of POP MART's customer base.

The boundaries between trendy toys and art have become increasingly blurred. The sale of a Labubu artwork for over 3 million RMB at a Beijing art auction exemplifies this phenomenon. This blurring of lines can be traced back to the Pop Art movement of the 1980s, where artists like Keith Haring collaborated with toy manufacturers to create trendy toys that blurred the lines between art and commerce.

POP MART founder Wang Ning compares his products to works by Rodin and Yayoi Kusama, arguing that they possess artistic value despite lacking traditional narratives. He believes that trendy toys cater to the fragmented attention spans of modern consumers, offering a form of art that is accessible and engaging.

KAWS, another prominent figure in the trendy toy scene, utilizes simple and recognizable symbols to create memorable designs. These symbols, such as cultural, religious, political, or brand icons, resonate with audiences on a subconscious level.

While artists like Yoshitomo Nara and Yayoi Kusama initially gained recognition as artists before commercializing their work, Labubu's path has been the reverse. By initially commercializing the character, Labubu's creators have increased its accessibility and appeal, ultimately driving up the value of the original artwork.

The blind box concept, popularized by POP MART, enhances the shopping experience through gamification and the thrill of collecting. However, the addictive nature of blind boxes taps into a deeper desire for escapism and the allure of playing on.

While scarcity can contribute to the perceived value of an item, the artificial scarcity of limited-edition blind box items differs from the inherent scarcity of fine art. Both trendy toys and art are subject to financialization, but the high prices of art also reflect its historical significance and artistic merit.

In conclusion, the rise of Labubu represents a complex interplay of cultural trends, emotional connections, and marketing strategies. Its popularity reflects a desire for harmless rebellion, a fascination with the arbitrary, and a blurring of the lines between art and commerce.

As trendy toys continue to evolve, they will undoubtedly play an increasingly significant role in shaping our cultural landscape.