Labubus
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Labubu hype: Labubus are the new „hot sh…“. What is behind this passion for collecting? Plush monsters, brands, symbolism, trends, hype, and the psychology of collectors.
The meaning of phallic symbols in art, culture and history
Introduction
Phallic symbols have been present in human history for thousands of years. From ancient fertility rituals to modern architecture, these symbols carry important cultural and social messages. But why are representations of the phallus so widespread? What significance do they have for power, gender and social structures?
What you'll learn
How different civilisations used phallic symbols in religion and culture
The role of phallic representations in art, architecture and mythology
How modern interpretations and controversies influence these symbols
By the end, you will have a better understanding of why phallic symbolism continues to shape our society.
What are phallic symbols?
A phallic symbol is any object, image or representation that resembles or symbolises a penis. These symbols have historically been associated with fertility, masculinity, power and protection. Many cultures have incorporated them into rituals, religious practices and even urban planning.
Why phallic symbols are important
Phallic symbols are much more than mere representations of male anatomy. They carry deeper meanings:
Fertility and creation – Many ancient societies saw the phallus as a sign of life and procreation.
Power and strength – In patriarchal societies, these symbols reinforced ideas of dominance and control.
Protection and good luck – Some cultures believed that phallic symbols could ward off evil spirits or bring prosperity.
From Egyptian gods to Greek mythology, phallic representations played a central role in cultural beliefs.
How phallic symbols have shaped history, art and culture
1. Fertility cults and ancient rituals
Many early civilisations associated phallic symbols with fertility and the cycle of life. Statues, carvings and rituals celebrated the erect phallus as a sign of creation and abundance.
In ancient Egypt, the god Min was depicted with an erect penis as a symbol of his creative power.
The Hohle Fels phallus, a 28,000-year-old stone figure from Germany, is one of the oldest known examples of phallic art.
These depictions show that early societies viewed fertility as a divine power represented by phallic symbolism.
2. Divine power in religious iconography
Phallic representations often appear in religious contexts, symbolising divine potency and cosmic balance.
Priapus, the Greek god of fertility, was depicted with an oversized phallus to emphasise his agricultural blessings.
In Hinduism, the lingam, a phallic representation of the god Shiva, symbolises the eternal cycle of creation and destruction.
These religious symbols show how societies associated the phallus with supernatural power and vitality.
3. Protective symbols in public spaces
Phallic statues were often placed at entrances, along roads and in marketplaces to ward off evil spirits and bring prosperity.
The Romans erected fascinus amulets to ward off the ‘evil eye’.
The Greeks placed herma statues – with heads and male genitals – at city limits and crossroads.
These practices illustrate how phallic symbols took on not only religious but also practical protective functions.
4. Eroticism, art and cultural expressions
Phallic representations are an important part of erotic and artistic traditions worldwide.
Pompeii's frescoes feature exaggerated phallic representations and reflect the Roman openness towards sexuality.
In Japanese shunga art, phallic representations were widespread in erotic woodblock prints.
These works of art illustrate that phallic symbolism has always been used to explore themes such as lust, humour and human desire.
5. Phallic architecture and urban symbolism
Phallic symbolism is deeply rooted in architecture and urban planning.
Obelisks in Egypt and Rome symbolised continuity, power and the divine connection between heaven and earth.
Modern skyscrapers are often interpreted as phallic symbols of economic and political dominance.
These structures show how societies use vertical, imposing forms to express control and legacy.
6. Gender roles and power structures
Phallic symbolism is often associated with masculinity, authority and hierarchical structures.
The Freudian perspective sees the phallus as a psychological symbol of power and competition.
Feminist critiques argue that phallic symbols reinforce patriarchal values in social and cultural systems.
These interpretations suggest that phallic symbolism has not only an aesthetic form but also an ideological meaning.
7. Modern controversies and interpretations
In the present day, phallic symbols spark debates about gender, sexuality and representation.
Public statues with exaggerated phallic forms are often criticised as relics of male dominance.
Artistic reinterpretation by feminist and LGBTQ+ movements has challenged traditional phallic representations.
These current discussions show that historical symbols are continuously reinterpreted in new social contexts.
Conclusion
Phallic symbols have profoundly shaped human history. Whether as symbols of fertility, religious artefacts or architectural statements, they have played a central role in defining power, identity and belief systems. Even today, they influence discussions about gender, politics and artistic expression.
Understanding the history of phallic symbolism helps us to recognise how symbols evolve over time, reflect and shape cultural narratives.
Phallic symbols: Origin, meaning and influence on culture and society - Psychotherapy Berlin
Labubu hype: hype surrounding brands and soft toys. The psychology behind the hype factor of the new trend surrounding Labubus and their symbolism.
May I introduce you? The cute Labubus
Some trends seem harmless at first glance – little figures, weird faces, a hype that stretches from Hong Kong to Berlin. But it is precisely these seemingly insignificant phenomena that reveal how our society feels, thinks and organises its desires. Labubus are more than just collector's items, however. They are a distorting mirror in which childhood, fear and desire come together.
1. Projection and personalisation
Labubus do not seem like objects, but rather like little companions. The strange mixture of sweet and bizarre does not create distance, but invites you to unload your feelings: comfort, affection, sometimes even aggression. In a world where many relationships are digital, figures like Labubus take on the role of silent companions – available, controllable and never „difficult“.
2. Nostalgia and the „uncanny familiarity“
Once again, a brand is picking up on the familiar „childhood schema“ – big eyes, round shapes. But the Labubu is not a little cuddly toy. It remains a little strange because it is grotesque. It is precisely this break that reinforces the effect: it evokes childhood associations without fully indulging them. This creates a strange mixture of comfort and unease – and that is precisely where its appeal lies.
3. Collective belonging as a substitute ritual
Labubu collectors form a global community connected via Instagram and forums. Anyone who hunts, trades or displays figures enters a modern initiation rite: participation is not determined by origin or values, but by the possession of small, limited-edition objects. A miniature tribal ritual in a world that has lost its grand, unifying narratives.
4. Scarcity, adrenaline, dopamine and the logic of gambling
The mechanics behind the trend are reminiscent of slot machines: limited editions, „blind boxes“ with uncertain contents, the prospect of a rare piece, and the addictive factor when adrenaline and dopamine are released simultaneously. Every purchase becomes a thrill – not because of the figure itself, but because of the moment of the hunt. The brain reacts to this like a reward lottery. Those who hunt Labubus are actually hunting dopamine and basking in the adrenaline rush of the hunt.
5. Escapism in miniature
Amidst climate anxiety, war and ongoing political crisis, quirky mascots are gaining power. The Labubu is not a hero, not an advisor, not a role model. It is small, harmless, somehow cute, but also a little ugly and stupid – and it is precisely this that makes it comforting and therefore so „cute“. It allows us to feel superior and to escape the seriousness of the world for a moment. Not through repression, but through a kind of absurd mockery of the magnitude of the problems: if everything is threatening and inescapable, then all that remains is to laugh with a pocket-sized monster.
6. The paradox of individuality
Each figure is considered a „unique collectible“ – completely absurd, because millions of people collect exactly these pieces of „uniqueness.“ It is the absurd paradox of late modern culture: wanting to be individual – through standardised mass-produced goods. The Labubu hype shows how much we crave uniqueness – and at the same time are willing to accept it within the framework of global uniformity.
What it's all about:
· Labubus are more than collectibles and fashion items.
· why the hype reflects a dual need: for closeness in a distant world and for control in a chaotic world
· Why the figures can satisfy both needs – small, cuddly, always available and at the same time absurd enough to break the seriousness of everyday life.
The trend thus reveals less about toy culture than about us: we are looking for stability, and we are looking for it in things that allow us to be childlike and ironic at the same time.
What are Labubus?
Labubus, small plush figures, have been enjoying enormous popularity for some time now. The current Labubu hype is mainly due to the manufacturer Pop Mart, which markets the Labubu figures as collectibles.
The history of Labubus and their development
The history of Labubus began with Kasing Lung and his book series „The Monsters“. In 2019, they became coveted plush toys through a collaboration with Pop Mart. However, their real breakthrough has only just happened, driven by social media and influencers. The little figures quickly became a global phenomenon, finding a large following especially on social media such as TikTok.
Pop Mart and the hype surrounding plush toys with questionable aesthetics
The Labubu hype is a prime example of the power of marketing and scarcity. As so often before, Pop Mart, a Chinese toy manufacturer from Beijing known for marketing collectibles, is pulling the strings. The company offers toys under its own brands, including Labubu, Pucky, Molly, Skullpanda and others. Sometimes there are co-branding campaigns, for example with Disney, the Powerpuff Girls or Harry Potter. So-called „blind boxes“, whose exact contents are only revealed after purchase, limited drops and „secret“ editions create a hype factor that appeals to the collecting instinct of many consumers. There are even counterfeit Labubus in circulation, which further underlines the popularity of the Labubu trend.
The psychology behind the Labubu hype
The symbolism of the popular Labubus and their meaning
Psychology reveals the deeper symbolism behind these little figures. On the surface, Labubus may just seem funny and quirky, but psychologically speaking, they offer moments of comfort and control in an unpredictable world. These little figures serve as tangible anchors that convey a sense of stability, especially in uncertain times. Labubus are therefore more than just toys; they are a symbol of positive emotions and lost childhood innocence. The Labubu hype thus appeals to fundamental psychological needs.
The role of Generation Z in the Labubu hype
Identity and self-worth in the digital age
Generation Z has grown up in a digital world where identity is often censored and geared towards online impact. The Labubu hype offers a way to express one's personality and feel part of a group. Collecting and sharing one's collection on social media becomes an expression of self-esteem. The small figures serve as status symbols and allow young consumers with sufficient purchasing power to show individuality in their consumption.
Global crises and their influence on young adults
All over the world, many young adults are constantly confronted with serious global crises such as pandemics, recessions and climate catastrophe in the media. (Those who lose out in these disasters cannot afford Labubus.) This media-mediated experience shapes the entire attitude towards life of Generation Z and awakens vague fears about the future. In an uncertain world, Labubus offer a way to treat oneself to a little joy and escape everyday life for a moment. Hopes are projected onto them, and they offer positive distraction.
The Labubu as a coping strategy
Small pleasures such as buying a Labubu satisfy oral needs. (Oral needs are not to be understood literally as hunger; they represent the basic psychological need for care, security and trust that develops in childhood and influences important aspects of personality and relationships throughout life.) Labubus are affordable, easily accessible and create a feeling of happiness, albeit fleeting. Collecting Labubu figures becomes a regressive habit that increases well-being, a search for the 'little joys of everyday life' that are supposed to compensate for fears and worries.
Labubus in the context of the attention economy
Popularity and arbitrariness: identity creation through Pokémon and Disney or Marvel action figures – the influence of social media
The influence of social media such as TikTok on the Labubu trend is enormous. Influencers present the Labubus in their videos, unboxing becomes an event, and the small figures become coveted objects. Thanks to their high visibility on social media, the hype spreads rapidly and more people become aware of the Labubus. Social media serves as an amplifier, further boosting the popularity of Labubu figures – the digital space as an echo chamber for identity formation.
The significance of short-lived trends in modern society
The Labubu hype perfectly illustrates how short-lived trends work in the attention economy and why they magically attract young consumers without permanently satisfying their need for novelty and belonging. Here's the connection:
1. Instant belonging through social media
TikTok as a catalyst: videos of unboxings, customisations or collector's collections create an apparent community in seconds.
Low-effort participation: post a video, add a comment („I need that!“), give it a like – and you instantly feel part of the „Labubu Clan“.
This satisfies the basic need for social integration – quickly and without any real social „investment“.
2. Fleeting exclusivity as a thrill
Limited editions: Rare Labubu figures (e.g. the „Skull Panda“ series) become status symbols.
FOMO (Fear Of Missing Out): The hype creates pressure to join in now before the trend passes.
The fleeting exclusivity triggers a brief rush of uniqueness – but as soon as the masses follow, the feeling of exclusivity fades again.
3. The vicious circle of insatiability
Rapid saturation: The appeal lies in the novelty value. As soon as the figure is available, it loses its magic („What's next?“).
Algorithms fuel this hunger: TikTok/Instagram immediately show the next trend (e.g. Stanley Cups, Squishmallows) to replace Labubus.
The attention economy must above all reward transience to make room for ever new consumer trends. Platforms benefit from the fact that no trend is ever enough.
4. Why doesn't it satisfy the „hunger“?
Superficial satisfaction: Trends provide emotional „snacks“ – not sustainable „nourishment“ for identity or meaning.
Systematic disappointment: The more trends are consumed, the harder it becomes to make a genuine commitment (e.g. to local communities).
→ The result: a permanent craving for the next kick – like a dopamine cycle.
Labubu as a symbol of the trend economy
The hype seems like a perfect psychodrama for Gen Z:
The illusion of creativity: Customisation suggests self-expression – but the basis remains a mass product.
Collective frenzy: Shared hype replaces deeper social cohesion.
Emptiness after the purchase: The figure becomes a monument to fleeting participation – until the next trend overlays it.
In short, Labubu is not an end point, but a vehicle – transporting young consumers from trend to trend without ever arriving. The magic lies in the chase, not in the possession. And that is precisely where the business model lies.
The long-term effects of the Labubu hype and similar trends on consumer culture are manifold. They promote a culture of fast consumption and a throwaway mentality. Brands such as Pop Mart skilfully exploit this dynamic to repeatedly launch new products and maintain demand. The Labubu trend shows how consumer culture influences our psychological needs for recognition and belonging.
„Readiness for war” and Labubus – a strange double image of our present
It sounds like a bad joke: while a German minister demands that Germans become „ready for war,“ people stand in line for plastic figurines with weird faces. Militarism and play, threat and silliness—two discourses that at first glance have nothing in common yet strike the same nerve at the same time.
„Warfare readiness“ is a term intended to convey the gravity of the era. It calls for toughness, discipline and seriousness. On 9 July 1944, when the defeat of the Wehrmacht had long been sealed, Reich Propaganda Minister Joseph Goebbels wrote in the Nazi weekly newspaper Das Reich: „As ready for war as ever.“ It is a telltale sign of irresponsible and unspeakable historical forgetfulness that politicians are now once again invoking Germany's „warlike spirit“ in editorials and demanding that all the forces of the „nation” be mobilised for „victory“ with the intention of portraying the old certainties – peace, prosperity, security – as fragile and outdated.
The Labubu trend, on the other hand, seems like a counter-spell. The droll little monsters from Hong Kong are grotesque and cute at the same time. They promise nothing, solve no problems, and that is precisely their appeal: a tiny laugh against the gravity, a childishly ironic escape from the logic of threat.
The simultaneity is no coincidence. Societies move like a pendulum: the call for defensiveness is answered by the popular with cuteness. While some count tanks, others collect weird pocket-sized monsters. Both reactions are expressions of the same basic feeling – the loss of control.
Historical reflections
The pattern is not new. Even during the First World War, toy shops in Europe sold teddy bears in vast numbers alongside patriotic tin soldiers, tin drums and toy guns – soft companions for children while 'the guns thundered' at the front.
In the 1980s, amid the Cold War, the „plushie“ wave swept across the West: My Little Pony, Care Bears, He-Man – colourful comforters in the shadow of the nuclear threat.
Even in eastern Germany, there were the famous 'Sandmännchen' figures, which were intended to appear apolitical amid an ideologically overheated world.
The pattern repeats itself in the contrast between public propaganda and private desires: where politics demands harshness, everyday life seeks comfort. Where grand narratives of enemies and danger dominate, small rituals of escapism flourish. (Consider, for example, the production of pop songs during the Second World War in Western countries. Many of these sentimental songs offered acoustic safe havens—whether state-controlled or secretly loved. They proved that even in war, the need for beauty, love, and hope remained indestructible.)
A double image of the present
The need for small pleasures always emerges as a sign of collective overload. Labubus are not just a bizarre quirk, but cultural sedatives. They satisfy a longing for stability, while political language urges us to fight and make sacrifices.
This creates a double image: belligerence and Labubus, harshness and harmlessness, strategy and play. The two belong together when play is an attempt to cope with a world that overwhelms us.
Conclusion: What the Labubu hype reveals about us
The Labubu hype is not a superficial toy trend, but a cultural symptom. It reflects a generation's struggle between control and chaos, belonging and individuality in a destabilised world:
Escapism 2.0:
As miniature anchors, the figures compensate for real fears (climate, wars, uncertainty) with ironic cuteness. Their grotesque charm disempowers the threatening – absurd consolation that does not repress but satirises.
The illusion of uniqueness:
The hype reveals the paradox of late modern identity: mass-produced goods become „unique collectibles.“ We buy standardised individuality – proof of the hunger for uniqueness in globalised uniformity.
Digital tribal magic:
Social media transforms collecting into low effort belonging. Hashtags replace values; limited editions become trophies of a substitute community. But the algorithm drives the cycle: every trend is just a dopamine pit stop on the Formula 1 chase to the next hype.
Historical echo:
Like kitschy war songs, Labubus offer emotional retreats – in the form of plastic figures. Their simultaneity with debates about „war readiness“ shows that where politics demands toughness, pop culture creates soft counterworlds as responses to collective fears of losing control.
Generation Z in endurance testing:
For a youth caught between climate panic and pressure to optimise, the figures become a regressive coping strategy. They satisfy an oral need for security – tangible, controllable, but fleeting.
This hype will also fade, but the basic pattern will remain:
Marketing exploits vulnerability: Pop Mart's blind box mechanism (gambling logic!) systematically monetises desires.
Real stability vs. participatory trend: Collective collecting euphoria is no substitute for a sustainable community.
Consumption as language: We must learn to distinguish between the language of genuine needs (nest warmth, belonging) and commercial echoes.
„Labubu is not an end point, but a vehicle“ – from trend to trend, from kick to kick. The magic lies in the chase, not in the possession. And resistance begins where we interrupt the chase.
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