This article explains what soft vinyl figures​ are—hollow, lightweight, slightly soft toys made from soft vinyl plastic, valued as both playthings and collectible art pieces. It details the evolution of their production: while single‑piece creation is now simple via 3D modeling (e.g., ZBrush, C4D), 3D printing, smoothing, and painting, pre‑2015 methods relied on clay sculpting and polyurethane resin models with less refined results. For mass production​ (ideal for business orders, typically starting at 100 units for cost efficiency), the process involves mold creation (wax molds electroplated into durable soft vinyl molds), injecting liquid PVC into rotating heated molds to form hollow figures, automated spray‑painting and pad‑printing for consistent coloring and intricate details, hand‑painting for fine touches, and custom packaging—all under strict quality control. For customization, clients work with professional manufacturers (e.g., Demeng Toy) to realize their own designs through the same production pipeline, with services covering 3D modeling, mold making, production, coloring, cleaning, and packaging to ensure high‑quality, perfectly colored vinyl figures.

The plush toy market is currently undergoing structural change, capitalizing on trends like trendy toys, national trends, and museum crazes, transforming from traditional children's toys to hybrid trendy toys that combine "culture, technology, and emotion." On the one hand, companies are breaking through reliance on licensing by incubating their own IP and personalizing their brands. For example, Wuduyouou has created original IP based on mythical beasts from the Classic of Mountains and Seas, Wen Tongzi uses a "battle-damaged aesthetic" to convey individuality, and Super Energy Factory is subverting the boundaries of materials with its "everything can be plush" approach. Furthermore, the innovative "Plush + X" model is unlocking diverse possibilities. PVC material mixes, magnetic interactive designs, and intangible cultural heritage free-stitch embroidery techniques combine trendy play attributes with cultural heritage. Museum-themed and giant panda-themed plush toys like the Sanxingdui Bronze Chirp and Panda Factory Fubao have become phenomenal hits. Furthermore, functional and dynamic innovations are reshaping consumer scenarios. Garfield's practical plush products (neck pillows, eye masks, etc.) are breaking through seasonal constraints, while Fun Nest Culture's electric plush and Teemo Planet's light-up dolls are tapping into the youth "healing economy" market through interactive features. Overall, the plush toy industry is completing the value upgrade from "dolls" to "cultural carriers" in the new tens of billions of tracks with the triple logic of "IP empowerment + material innovation + emotional connection".

Leveraging its professional R&D and innovation system, Ciaoka Chaoka launched innovative plush and PVC products based on its original IP. In 2023, the brand capitalized on the popularity of vinyl plush in Southeast Asia and, through collaboration with distributors, rapidly expanded into Thailand, Vietnam, and Indonesia. The Luckymeow series has proven popular, leading to steady growth in overseas revenue. The brand has also identified the European and American markets as a secondary focus for overseas expansion, capitalizing on the growing acceptance of Chinese trendy toys in these markets. While mainland China remains its primary market, its overseas market share continues to grow, demonstrating strong global potential.

Dongguan has become a key force in the trendy toy industry with its profound manufacturing heritage. In its early years, it accumulated technology by working as a contract manufacturer for Disney and Bandai. Today, it uses processes such as "vinyl + plush" to solve the problems of pure plush being easily deformed and vinyl being easily scratched. It is also exploring slow-rebound plush and temperature-changing materials, and developing trendy toys with movable joints to seize the initiative in the "material revolution." In terms of production capacity and efficiency, the "Dongguan speed" is outstanding. Large quantities of vinyl plush can be shipped in 2 months, and small batches can be pre-sold in as fast as 15-20 days. The industrial cluster efficiently connects the processes. Although technical talent is scarce, skilled pattern makers remain a core advantage, and some talents have entered the upper reaches of the brand value chain. On the market side, local contract manufacturers once helped Pop Mart, and now original IPs are on the rise. IPs such as HiTOY, "Wa San Sui" and "Zhuo Da Wang" have achieved outstanding results overseas. Many Dongguan original trendy toy IPs have entered the global market, becoming a carrier of young people's emotions and making Dongguan a "shipping place" for China's trendy toy culture.

This article focuses on the profound transformation and spatial resurgence of the plush toy market, charting its journey from a fringe category to a core consumer and emotional hub. Three major trends have emerged within the market: deepening IP collaborations, upgrading emotional interactions, and cultural IP derivatives. The IP collaboration trend breaks down barriers, connecting virtual and real life. The emotional interaction trend leverages technology to enhance interaction by empowering toys with features like heating, fragrance, and emotion recognition. The cultural IP derivative trend infuses cultural connotations through "abstract reproductions" of cultural relics and the integration of local cuisine and dialectal memes. In the commercial space, plush toys have evolved from supporting roles at the bottom of supermarkets to soothing corners of cultural and creative stores, and then to standalone stores and pop-up shops in core shopping districts of high-tier cities. Shopping malls are shifting their investment strategy towards brands that prioritize spatial design and emotional interaction. Plush toys, with their strong emotional appeal, have benefited from this. Online promotions on Xiaohongshu (Little Red Book) and offline pop-up stores have formed a closed loop, and trendy brands are eager to collaborate with them, propelling them to become a powerful force in the consumer market. The essence of this change is the recognition of the value of emotional consumption by physical businesses. Plush toys are not only commodities, but also spiritual refuges and soul backup devices for urbanites. In the future, they are expected to replace traditional jewelry counters and become a new generation of spiritual landmarks. The emotional value they carry far exceeds the material itself.

Entering the trendy toy industry during its explosive growth in 2020, Letsvan founder Zhan Huiyu broke through the startup difficulties with extreme productism - he would rather give up 5 million yuan in emergency payments than destroy defective products; with a deep understanding of emotional value, he led the team to incubate popular products such as "China's No. 1 Princess IP" Youli and the phenomenal IP WAKUKU. Among them, WAKUKU took less than a year from its birth to its popularity, and it competed with Pop Mart's top-tier LABUBU. Starting from 2024, Quantum Song completed the full acquisition of Letsvan. The two parties "complemented each other's genes" to strengthen their marketing capabilities. By cooperating with Lehua Entertainment to open up celebrity channels, the SIINONO blind box launched in 2025 was sold out at its first launch, and pre-sales were scheduled until September; after the brand was upgraded to "Letsvan Dream Island", Zhan Huiyu positioned it as an open ecosystem connecting designers, artists and users, and continued to lead with the market response speed of "cheetah" - incubating 15 self-owned IPs in 4 years since its establishment, in the fiercely competitive trendy toy track, using passion and long-termism to write the growth trajectory from a dark horse startup to a new force in the industry.

This article delves into the global blind box craze, charting its journey from its roots in Japan’s "lucky bags" to a multi-billion-dollar market encompassing trendy toys, luxury goods, and more. It explores how blind boxes, driven by their ability to deliver emotional and social value—such as the joy of surprise, collectibility, and social interaction through unboxing sharing—along with the appeal of personalized experiences, have won over Gen Z and millennials across the globe. Spotlighting major players such as Pop Mart—the dominant force in the trendy toy segment, with its IP-based collections (including top-selling lines like SKULLPANDA and MOLLY), collaborations with artists, and rapid expansion in Southeast Asia and beyond—and HEAT, a luxury-focused brand partnering with over 100 high-end labels (from Givenchy to Prada) to capitalize on the trend, the piece breaks down the market’s explosive growth. From $15 blind boxes that resell for $150 to luxury blind boxes priced at $350+ that sell out within minutes (like HEAT’s offerings, which even secured investment from LVMH and Hermès family members), it uncovers how this "surprise economy" has become both a source of emotional satisfaction and stress relief for consumers and a profitable business model—solving inventory challenges for brands while fueling a global spending frenzy across social media platforms and international markets.

The global phenomenon of Labubu results from the resonance of ​​"ugly-cute aesthetics × blind box economy × celebrity marketing × emotional value"​​. It showcases the evolution of Chinese trend toys from OEM manufacturing to ​​cultural export​​, while also revealing hidden risks like speculative consumption and over-reliance on IP. Whether Labubu can become a ​​trans-generational IP​​ like Hello Kitty depends on Pop Mart's ability to build ​​sustainable emotional bonds and cultural depth​​ amid the current frenzy.

Figma Series​​ is a Japanese articulated action figure line developed by ​​Max Factory​​ and distributed by ​​Good Smile Company​​, renowned for its ​​high mobility​​ (up to 30 articulation points) and ​​extensive accessories​​. The series specializes in recreating iconic characters from anime, games, and films.

This article focuses on the trajectory of plush toys from childhood memoirs to universal cult favorites, exploring their enduring appeal across generations and social classes. From the social worker resonance evoked by IKEA's "world-weary shark," Broe, to the comforting smile of JellyCat, these adorable objects, with their unique personalities and warm touch, have become vehicles for people's emotional projection. They serve not only as emotional cushions against life's frustrations but also as social conversation starters and spiritual sustenance. In Douban groups, tens of thousands of people share their "Sharks' Daily Life." In real life, plush toys are given the status of "family" and "companions," offering effortless companionship to alleviate the loneliness and stress of adults. Despite being mass-produced products, they embody unique emotional connections and childlike innocence, becoming timeless symbols of healing. They demonstrate how, in the era of the "emotional economy," objects, through warmth and meaning, can bring fairytale-like resonance to life.

This article offers a multifaceted introduction to plush toys. It begins with a Jellycat pop-up shop resembling a "fish and chip shop," highlighting the abundance of food-related plush toys. It then explains the global plush toy craze, including the buzz surrounding related videos, the explosive sales, and the substantial and expected growth of the market. It also highlights the primary consumer demographic: older children. It then analyzes the causes of the plush toy craze, citing the therapeutic benefits and increased willingness to spend on them during the pandemic. It also notes the high prices and celebrity-themed items that fuel collectors' enthusiasm. Finally, it emphasizes that every era has its own popular gadgets, and this isn't childish. Maintaining a childlike innocence is a compelling reason to collect plush toys, and it's also a marketing tactic used by manufacturers.

The article revolves around the sudden popularity of Jellycat, a high-end British plush toy brand. It starts from its product design and marketing strategy, and analyzes the deep logic of how it builds emotional connections through personification and "playing house" experience, becoming an "emotional partner" for consumers. It not only shows its side as an emotional consumption carrier that meets the emotional needs of modern people, but also mentions controversies such as high prices and exploitation of the emotional labor of store clerks, and finally reveals the social emotional dilemma and individual survival status reflected behind it.