Inside the Labubu Craze

Published

6 months ago

June 8, 2025

Dear Reader,

Labubu – the hottest toy of 2025 – is making headlines everywhere these days. The little creature is all over TikTok, and from New York to Bangkok and Dubai, people are lining up for hours to get their hands on the popular keyring doll.

In the UK, the Labubu hype has gone so far that its maker temporarily pulled the toys from all of its stores for “safety reasons,” following reports of customers fighting over them. In the Netherlands, the sole store where fans can buy the toys also had to hire extra security to manage the crowds, and Chinese customs authorities have intensified efforts to prevent the dolls from being smuggled out of the country.

While the Labubu craze had slightly cooled in China compared to its initial peak, the character remains hugely popular and surged back into daily top trending charts with the launch of POP MART’s Labubu 3.0 series in late April 2025 (which instantly sold out).

Following the global popularity of the Chinese game Black Myth: Wukong, state media are citing Labubu as another example of a successful Chinese cultural export—calling it ‘a benchmark for China’s pop culture’ and viewing its success as a sign of the globalization of Chinese designer toys.

But how ‘Chinese’ is Labubu, really? Here’s a closer look at its cultural identity and the story behind the trend.

The Journey to Labubu

In the perhaps unlikely case you have never heard of Labubu, I’ll explain: it’s a keyring toy with a naughty and, frankly, somewhat bizarre face and gremlin-like appearance that comes in various colors and variations. It’s mainly loved by young (Gen Z) women, who like to hang the toys on their bags or just keep them as collectibles.

The figurine is based on a character created by renowned Hong Kong-born artist Kasing Lung (龍家昇/龙家升, born 1972), whose work is inspired by Nordic legends of elves.

Kasung Lung, image via Bangkok Post.

Lung’s story is quite inspirational, and very international.

As a child, Lung immigrated to the Netherlands with his parents. Struggling to learn Dutch, young Kasing was given plenty of picture books. The picture books weren’t just a way to connect with his new environment, it also sparked a lifelong love for illustration.

Among Kasing’s favorite books were Where the Wild Things Are by Maurice Sendak and those by Edward Gorey — all full of fantasy, with some scary elements and artistic quality.

Later, as his Dutch improved, Kasing became an avid reader and turned into a true bookworm. The many fantasy novels and legendary tales he devoured planted the seed for creating his own world of elves and mythical creatures.

Kasing as a young boy on the right, and one of his children’s illustration books on the left.

After initially returning to Hong Kong in the 1990s, Lung later moved back to the Netherlands and eventually settled in Belgium.

Following a journey of many rejections and persistence, he began publishing his own illustrations and picture books for the European market.

Kasing Lung’s earlier illustrations, image via Sina.

In 2010, Hong Kong toy brand How2work’s Howard Lee reached out to Lung. One of How2work’s missions is cultivating creative talent and supporting the Hong Kong art scene. Lee invited Kasung to turn his illustrations into 3D, collectible figurines. Kasung, a collector of Playmobil figures since childhood, agreed to the collaboration for the sake of curiosity and creativity.

Lung’s partnership with How2work marked a transition to toy designer, although Lung also continued to stay active as an illustrator. Besides his own “Max is moe” (Max is tired) picture book, he also did illustrations for a series by renowned Belgian author Brigitte Minne (Lizzy leert zwemmen, Lizzy leert dansen).

A few years later, Lung introduced what would become known as The Monsters Trilogy: a fantasy universe populated by elf-like creatures. Much like The Smurfs, the Monsters formed a tribe of distinct characters, each with their own personalities and traits, led by a tribal leader named Zimomo.

With its quirky appearance, sharp teeth, and mischievous grin, Labubu stood out as one of the long-eared elves.

When Labubu Met POPMART

Although the Labubu character has been around since 2015, it took some time to gain fame. It wasn’t until Labubu became part of POP MART’s (泡泡玛特) toy lineup in 2019 that it began reaching a mass audience.

POP MART is a Chinese company specializing in artsy toys, figurines, and trendy, pop culture-inspired goods. Founded in 2010 by a then college student, the brand launched with a mission to “light up passion and bring joy,” with a particular focus on young female consumers (15-30 age group) (Wang 2023).

One of POP MART’s most iconic art toy characters—and its first major commercial success—is Molly, designed by Hong Kong artist Kenny Wong in collaboration with How2work.

Prices vary depending on the toy, but small figurines start as low as 34 RMB (about US$5), while collectibles can go as high as 5,999 yuan (US$835). Resellers often charge significantly more.

Pop Mart and its first major commercial success: Molly (source).

POP MART is more than just a store, it’s an operational platform that cover the entire chain of trendy toy, from product development to retail and marketing (Liu 2025).

Within a decade of opening it first store in Beijing, POP MART experienced explosive growth, expanded globally, and was listed on the Hong Kong Stock Exchange.

The enormous success of POP MART has been the subject of countless marketing studies, drawing various conclusions about how the company managed to hit such a cultural and commercial sweet spot beyond its mere focus on female Gen Z consumers.

🎁 Gamifying consumption | One common conclusion about the success of POP MART, is that it offers more than just products—it offers an experience. At the heart of the brand is its signature blind box model, where customers purchase mystery boxes from specific product lines without knowing which item is inside. Those who are lucky enough will unpack a special ‘hidden edition.’ Originating in Japanese capsule toy culture, this element of surprise gamifies the shopping experience, makes it more shareable on social media, and fuels the desire to complete collections or hunt for rare figures through repeat purchases.

🌍 Creating a POP MART universe | Although POP MART has partnerships with major international brands such as Disney, Marvel, and Snoopy, it places a strong focus on developing its own intellectual property (IP) toys and figurines. In doing so, POP MART has created a universe of original characters, giving them a life beyond the store in many ways. It builds this universe both online and offline—through a wide network of ‘roboshops’ (vending machines) and by strengthening fan interest and engagement via collaborations, art shows, exhibitions, and even its own theme park in Beijing.

💖 Emotional consumption | What makes POP MART particularly irresistible to so many consumers is the emotional appeal of its toys and collectibles. It taps into nostalgia, cuteness, and aesthetic charm. The toys become companions, either as a desktop buddy or travel buddy. Much of the toys’ value lies in their role as social currency, driven by hype, emotional gratification, and a sense of social bonding and identity (Ge 2024).

The man behind POP MART and its strategy is founder and CEO Wang Ning (王宁), a former street dance champion (!) and passionate entrepreneur with a clear vision for the company. He consistently aims to discover the next iconic design, something that could actually rival Mickey Mouse or Hello Kitty.

In past interviews, Wang has discussed how consumer values are gradually shifting. The rise of niche toys into the mainstream, he says, reflects this transformation. Platforms like Douyin, China’s strong e-commerce infrastructure, and the digital era more broadly have all contributed to changing attitudes, where people are increasingly buying not for utility, but for the sake of happy moments.

While Wang Ning dreams of a more joyful world, he also knows how to make money (with a net worth of $20.3 billion USD, it was actually just announced that he’s Henan’s richest person now)—every new artist and toy design under POP MART is carefully researched and strategically evaluated before being signed.

Labubu’s journey before its POP MART partnership had already shown its appeal: Kasing Lung and How2Work had built a small but loyal fanbase pre-2019. But it was through the power of POP MART that Labubu really reached global fame.

Labubu: Most Wanted

Riding the wave of POP MART’s global expansion, Labubu became a breakout success, eventually evolving into a global phenomenon and cultural icon.

Now, celebrities around the world are flaunting their Labubus, further fueling the hype—from K-pop star Lisa Manobal to Thai Princess Sirivannavari and Barbadian singer Rihanna.

In China, one of the most-discussed topics on social media recently is the staggering resale price of the Labubu dolls.

Third edition of the beloved Labubu series titled “Big into energy” (Image via Pop Mart Hong Kong).

“The 99 yuan [$13.75] Labubu blind box is being hyped up to 2,600 yuan [$360]” (#99元Labubu隐藏款被炒至2600元#), Fengmian News recently reported.

Labubu collaborations and limited editions are even more expensive. Some, like the Labubu x Vans edition, originally retailed for 599 yuan ($83) and are now listed for as much as 14,800 yuan ($2,055).

Recently, Taiwanese singer and actor Jiro Wang (汪东城) posted a video venting his frustration over scalpers buying up all the Labubus and reselling them at outrageous prices. “It’s infuriating!” he said. “I can’t even buy one myself!” (#汪东城批Labubu黄牛是恶人#).

One Weibo hashtag asks: “Who is actually buying these expensive Labubus?” (#几千块的Labubu到底谁在买#).

Turns out—many people are.

Not only is Labubu adored and collected by millions, an entire subculture has emerged around the toy. Especially in China, where Labubu was famous before, the monster is now entering a new phase: playful customization. Fans are using the toy as a canvas to tell new stories and deepen their emotional connection, transforming Labubu from a collectible into a DIY project.

Labubu getting braces and net outfits – evolving from collectible to DIY project.

There’s a growing trend of dressing Labubu in designer couture or dynastic costumes (Taobao offers a wide array of outfits), but fans are going further—customizing flower headbands, adorning their dolls with tooth gems, or even giving them orthodontic braces for their famously crooked teeth (#labubu牙套#).

In online communities, some fans have gone as far as creating dedicated generative AI agents for Labubu, allowing others to generate images of the character in various outfits, environments, and scenarios.

Labubu AI by Mewpie.

It’s no longer just the POP MART universe—it’s the Labubu universe now.

“Culturally Odorless“

So, how ‘Chinese’ is Labubu really? Actually, Labubu is not ‘Chinese’ at all—and at the same time, it is very much a product of present-day China.

🌍 Not Chinese at all

Like other famous IP characters, from the Dutch Miffy to Japan’s Pikachu and Hello Kitty, Labubu is “culturally odorless,” a term used to refer to how cultural features of the country of invention are absent from the product itself.

The term was coined by Japanese scholar Koichi Iwabuchi to describe how Japanese media products—particularly in animation—are designed or marketed to minimize identifiable Japanese cultural traits. This erasure of “Japaneseness” helped anime (from Astro Boy to Super Mario and Pokémon) become a globally appealing and commercially successful cultural export, especially in post-WWII America and beyond.

Moreover, by avoiding culturally or nationally specific traits, these creations are placed in a kind of fantasy realm, detached from real-world identities. Somewhat ironically, it is precisely this neutrality that has made Japanese IPs so distinctively recognizable as “Japanese” (Du 2019, 15).

Many Labubu fans probably also don’t see the toy as “Chinese” at all—there are no obvious cultural references in its design. Its style and fantasy feel are arguably closer to Japanese anime than anything tied to Chinese identity.

When a Weibo blogger recently argued that Labubu’s international rise represents a more powerful example of soft power than DeepSeek, one popular reply asked: “But what’s Chinese about it?”

🇨🇳 Actually very Chinese

Yet, Labubu is undeniably a product of today’s China—not necessarily because of Kasing Lung (Hong Kong/Dutch/Belgian) or How2work (Hong Kong), but because of the Beijing-based POP MART.

Wang Ning’s POP MART is a true product of its time, inspired by and aligned with China’s new wave of digital startups. From Bytedance to Xiaohongshu and Bilibili, many of China’s most innovative companies move beyond horizontal product offerings or traditional service goals. Instead, they think vertically and break out of the box—evolving into entire ecosystems of their own. (Fun fact: the entrepreneurs behind these companies were all born in the 1980s, between 1983 and 1989).

In that sense, state media like People’s Daily calling Labubu “a benchmark of China’s pop culture” isn’t off the mark.

Still, some marketing critics argue there’s room for more ‘Chineseness’ in Labubu and POP MART’s brand-building strategies—particularly through collections inspired by Chinese heritage, which could further promote national culture on the global stage (Wang 2023).

Meanwhile, Chinese official channels have already begun positioning Labubu as a cultural ambassador. In the summer of 2024, a life-sized Labubu doll embarked on a four-day tour of Thailand to celebrate the 50th anniversary of China–Thailand diplomatic relations.

The life-sized mascot of a popular Chinese toy character, Labubu, visited Bangkok landmarks and was named “Amazing Thailand Experience Explorer” to boost Chinese tourism. Image via Facebook/Pop Mart, TravelWeekly Asia.

In the future, Labubu, just like Hello Kitty in Japan, is likely to become the face of more campaigns promoting tourism and cross-cultural exchange.

Whatever happens next, it’s undeniable that Labubu stands at the forefront of a breakthrough moment for Chinese designer toys in the global market, and, from that position, serves as a unique ambassador for a new wave of Chinese creative exports that resonate with international audiences.

For now, most Labubu fans, however, don’t care about all of that – they are still on the hunt for the next little monster, and that’s enough to keep the Labubu hype burning. 🔥

📝 As always, thank you for your support as a What’s on Weibo member. I also truly appreciate those of you reaching out to share your observations or fill in more details related to articles on the website.

Just a quick heads-up that the site might be a bit quiet this week, as I’ll be in deep prep mode for a keynote talk I’m giving at the NPO’s “Festival of the Future” (June 17), hosted by the Dutch national broadcaster. I’ll be talking to Dutch media makers about China’s ever-evolving media landscape, showing how the latest digital innovations are shaking up media dynamics. Farmers are livestreaming, local officials are becoming online influencers, and state media are making viral memes…all within a tightly controlled ideological framework. If you’re interested & in the Netherlands, you can sign up to join the keynote here (in Dutch). I’ll also be sharing some key insights and research on China’s latest media innovations on What’s on Weibo soon.

By the way: make sure to click “view entire message” and expand this email so you don’t miss Ruixin Zhang’s update at the bottom, covering China’s latest crackdown on online fiction communities.

Stay in touch, and see you in the next edition!

Best,

Manya Koetse

(follow on X, LinkedIn, or Instagram)

References (other sources included in hyperlinks)

• Du, Daisy Yan. 2019. Animated Encounters: Transnational Movements of Chinese Animation, 1940-1970s. Honolulu: University of Hawaii Press.

• Ge, Tongyu. 2024. “The Role of Emotional Value of Goods in Guiding Consumer Behaviour: A Case Study Based on Pop Mart.” Proceedings of the 5th International Conference on Education Innovation and Philosophical Inquiries. DOI: 10.54254/2753-7048/54/20241623

• Liu, Enyong. 2025. “Analysis of Marketing Strategies of POP MART,” Proceedings of the 3rd International Conference on Financial Technology and Business Analysis DOI: 10.54254/2754-1169/149/2024.19257.

• Wang, Zitao. 2023. “A Case Study of POP MART Marketing Strategy.” Proceedings of the 2023 International Conference on Management Research and Economic Development. DOI: 10.54254/2754-1169/20/20230168.

What’s Featured

A deeper dive behind the hashtags

Gaming Lingo | China has a thriving gaming culture with far-reaching impact — not just on pop culture, but on language too. Even those who aren’t into gaming inevitably use expressions that come from it. In this featured article, Andrew Methven explains it all and gives 10 examples of Chinese internet slang words you probably didn’t know came from online gaming. Recommended read for anyone interested in Chinese language and good opportunity to level up your Mandarin skills.

Read More

What’s Trending

Handpicked roundup of hot hashtags & online discussions

“Taiwan Tour Group Sold to Myanmar” is the headline that’s been making its rounds on social media this week after it was reported that a group of eight tourists from Taiwan became victims of telecom fraud-related human trafficking in Myanmar. They fell for a scam involving a so-called “free trip to Thailand.”

The group had been lured to Thailand by a scam ring that promised them, among other things, short-term high-paying jobs at a Thai casino. Once in Thailand, their passports were confiscated, and they were transported to Myanmar by an ethnic armed group.

Three women from the group managed to escape after they were reportedly deemed too old to participate in the cyberfraud operations — they didn’t even know how to use a smartphone — and were then forced to pay a ransom of around US$9715 each to be released.

The whereabouts of the five younger tourists, who were allegedly resold to other scam compounds, remain unknown.

The case quickly trended on Weibo. Despite the serious nature of the news, the fact that three ladies were saved from their predicament by not being tech-savvy enough also raised some eyebrows: “I never expected that not knowing how to use a smartphone could be such an advantage,” one top commenter wrote. Read more here.

This is the first year in many that Weibo’s emoji set on mobile seemingly was not altered to accommodate censorship around June 4. In previous years, emojis used to commemorate the Tiananmen Square protests—like the candle—would quietly disappear around this date. See: The Disappearing Emoji on Weibo in Light of June 4

But this year, the candles remained. Has the “Tiananmen Incident” become less politically sensitive? Or is AI-powered censorship simply more advanced now? Considering how Tiananmen is practically the “last ‘T’ standing” (read here), my guess is that it’s the latter.

Despite the candle, censorship otherwise remained unchanged compared to other years. On Weibo, any recent mention of the phrase “it’s my duty” was completely erased. That line, in English, previously circulated online as a subtle nod to June 4—referencing a BBC interview with a young, hopeful man in 1989 on his way to the square. (“I’m going to march, at Tiananmen Square” – “Why?” – “Why? I think it’s my duty,” see video here).

Meanwhile on Xiaohongshu (aka RedNote), an app where Tiananmen is typically mentioned often as a popular sightseeing spot, there wasn’t a single result mentioning ‘Tiananmen’ for the entire day.

On Douyin, a curated selection of Tiananmen-related videos was allowed, but highly selective, like the daily flag-raising ceremony, uploaded by the official Tiananmen Flag Raising account (天安门升旗).

By the way, the candle situation seemed to vary depending on how you access Weibo. On desktop, emojis like the falling leaf (风吹叶落), candle (蜡烛), and birthday cake (生日蛋糕) were once again missing—just like in previous years. Perhaps next year, as AI-powered censorship becomes even more advanced, all the candle emojis will still be there. But it won’t matter much, as their light will likely be quickly extinguished the moment they’re used by netizens to shine on the memory of June 4.🕯️

..what else to know?

🔹 China’s national college entrance exams, the gaokao (高考), have kicked off this weekend. As 13.35 million students sit for the exams across the country, a variety of related topics are trending on social media — from discussions about the difficulty of the history exam to widespread well-wishes from netizens cheering on the test-takers.

🔹 Trump is top trending these days, not only because of the American’s president public row with Elon Musk, but also due to the deployment of the National Guard to Los Angeles following clashes over raids on undocumented migrants. Despite the usual banter, there are also more serious online discussions about the chaos of “Western politics” and the future ahead.

🔹 A knife attack in a crowded canteen at Wuhan University made headlines on June 4. A 23-year-old Chinese student injured at least three people in a random stabbing, reportedly triggered by mental health struggles linked to academic pressure. He has since been detained, and all victims are now in stable condition.

What’s Noteworthy

Smaller news with big impact – by Ruixin Zhang

Erotic fiction writers have since long walked a tightrope on the Chinese internet. In 2024, a number of writers from the online platform Haitang Literature City were summoned by the police, fined, and sentenced—some so financially burdened by legal penalities they had to turn to online loans to cover the costs.

Earlier this month, another crackdown sent shockwaves through China’s adult fiction communities. This time, the scale was broader and the enforcement more aggressive. Police in Lanzhou launched cross-provincial operations—referred to by netizens as ‘deep-sea fishing’ (远洋捕捞)—targeting not only authors of explicit content, but also those whose work was neither erotic nor monetised. Writers from all walks of life were summoned, questioned, and, in some cases, detained.

According to media reports, many caught in the latest crackdown had earned little or nothing from their writing. A significant number were university students. Some took to Weibo to share their experiences: one lost the opportunity to pursue graduate studies; a young woman described being subjected to excessive force during police questioning; and even writers whose work had barely surpassed 1,000 views were interrogated by police for up to five hours.

The harsh measures have sparked concern, particularly because so many of the affected are young, underprivileged, and legally vulnerable. In response, lawyers such as Xue Hongling and Zhao have stepped in to offer legal advice and defense. They were soon joined by law professors, mental health professionals, and other concerned individuals offering their expertise and support.

Yet despite growing public outrage, authorities have offered little explanation. As with the previous year’s crackdown, online debate has reignited over whether China’s decades-old obscenity laws are in need of reform. But as legal proceedings continue, few remain hopeful about what lies ahead.

Read our previous article about this topic

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Manya Koetse

Manya is the founder and editor-in-chief of What's on Weibo, offering independent analysis of social trends, online media, and digital culture in China for over a decade. Subscribe to gain access to content, including the Weibo Watch newsletter, which provides deeper insights into the China trends that matter. More about Manya at manyakoetse.com or follow on X.

China Brands, Marketing & Consumers

Signals: Hasan Piker’s China Trip & the Unexpected Journey of a Chinese School Uniform to Angola

Hasan Piker’s controversial China tour, a Chinese school uniform resurfaces in Africa, a new winter hotspot, why Chinese elites ‘run’ to Tokyo, and more.

Published

2 days ago

November 21, 2025

Manya Koetse

🌊 Signals — Week 47 (2025)
Part of Eye on Digital China, Signals highlights slower trends and online currents behind the daily scroll. This edition was sent to paid subscribers — subscribe to receive the next issue in your inbox.

Welcome to another edition of Eye on Digital China. Different from the China Trend Watch (check the latest one here if you missed it), this edition, part of the new Signals series, is about the slower side of China’s social media: the recurring themes and underlying shifts that signal broader trends beyond the quick daily headlines. Together with the deeper dives, the three combined aim to give you clear updates and a fuller overview of what’s happening in China’s online conversations & digital spaces.

For the coming two weeks, I’ll be traveling from Beijing to Chongqing and beyond (more on that soon) so please bear with me if my posting frequency dips a little. I’ll be sure to pick it up again soon and will do my best to keep you updated along the way. In the meantime, if you know of a must-try hotpot in Chongqing, please do let me know.

In this newsletter: Hasan Piker’s controversial China tour, a Chinese school uniform in Angola, a new winter hotspot, discussions on what happens to your Wechat after you die, why Chinese elites rùn to Tokyo, and more. Let’s dive in.

Slower Scrolls

💰 The richest woman in China, according to the latest list by Hurun Research Institute, is the “queen of pharmaceuticals” Zhong Huijuan (钟慧娟) who has accumulated 141 billion yuan (over 19 billion USD). Women account for over 22% of Chinese billionaires (those with more than 5 billion RMB), underscoring China’s globally leading position in producing wealthy female entrepreneurs.
🧩 What happens to your WeChat after you die? A user who registered for NetEase Music with a newly reassigned phone number unexpectedly gained access to the late singer Coco Lee’s (李玟) account, as the number had originally belonged to her. The incident has reignited debate over how digital accounts should be handled after death, prompting platforms like NetEase and Tencent to reconsider policies on long-inactive accounts and take stronger measures to protect them.
📱 Although millions of viewers swoon over micro-dramas with fantasy storylines where rich, powerful men win over the “girl next door” through money and status, Chinese regulators are now stepping in to curb exaggerated plots featuring the so-called “dominant CEO” (霸道总裁) archetype, signaling stricter oversight for the booming short drama market.
☕ A popular Beijing coffee chain calling itself “People’s Cafe” (人民咖啡馆), with its style and logo evoking nationalist visual nostalgia, has changed its name after facing criticism for building its brand – including pricey coffee and merchandise – on Mao era and state-media political connotations. The cafe is now ‘Yachao People’s Cafe’ (要潮人民咖啡馆).
👀 Parents were recently shocked to see erotic ads appear on the Chinese nursery rhymes and children’s learning app BabyBus (宝宝巴士), which is meant for kids ages 0–8. BabyBus has since apologized, but the incident has sparked discussions about how to keep children safe from such content.
🧧The 2026 holiday schedule has continued to be a big topic of conversation as it includes a 9-day long Spring Festival break (from February 15 to February 23), making it the longest Lunar New Year holiday on record. The move not only gives people more time for family reunions, but also gives a huge boost to the domestic travel industry.

Currents

Hasan Piker’s Chinese Tour & The US–China Content Honeymoon

[#HasanAbi#] [#Hasanabi柠檬哥#]

Livestreamer Hasan Piker during his visit to Tiananmen Square flag-rising ceremony.

It’s not time for the end-of-year overviews just yet – but I’ll already say that 2025 was the US–China ‘honeymoon’ year for content creation. It’s when China became “cool,” appealing, and eye-grabbing for young Western social media users, particularly Americans. The recent China trip of the prominent American online streamer Hasan Piker fits into that context.

This left-wing political commentator also known as ‘HasanAbi’ (3 million followers on Twitch, recently profiled by the New York Times) arrived in China for a two-week trip on November 11.

Piker screenshot from the interview with CGTN, published on CGTN.

His visit has been controversial on English-language social media, especially because Piker, known for his criticism of America (which he calls imperialist), has been overly praising China: calling himself “full Chinese,” waving the Chinese flag, joining state media outlet CGTN for an interview on China and the US, and gloating over a first-edition copy of Quotations from Chairman Mao (the Little Red Book). He portrays China as heavily misrepresented in the West and as a country the United States should learn from.

Hasan Piker did an interview with CGTN, posing with Li Jingjing 李菁菁.

During his livestreaming tour, Hasan, who is nicknamed “lemonbro” (柠檬哥) by Chinese netizens, also joined Chinese platforms Bilibili and Xiaohongshu.

But despite all the talk about Piker in the American online media sphere, online conversations, clicks, and views within China are underwhelming. As of now, he has around 24,000 followers on Bilibili, and he’s barely a topic of conversation on mainstream feeds.

Piker’s visit stands in stark contrast to that of American YouTuber IShowSpeed (Darren Watkins), who toured China in March. With lengthy livestreams from Beijing to Chongqing, his popularity exploded in China, where he came to be seen by many as a representative of cultural diplomacy.

IShowspeed in China, March 2025.

IShowSpeed’s success followed another peak moment in online US–China cultural exchange. In January 2025, waves of foreign TikTok users and popular creators migrated to the Chinese lifestyle app Xiaohongshu amid the looming TikTok ban.

Initially, the mass migration of American users to Xiaohongshu was a symbolic protest against Trump and US policies. In a playful act of political defiance, they downloaded Xiaohongshu to show they weren’t scared of government warnings about Chinese data collection. (For clarity: while TikTok is a made-in-China app, it is not accessible inside mainland China, where Douyin is the domestic version run by the same parent company).

The influx of foreigners — who were quickly nicknamed “TikTok refugees” — soon turned into a moment of cultural celebration. As American creators introduced themselves, Chinese users welcomed them warmly, eager to practice English and teach newcomers how to navigate the app. Discussions about language, culture, and societal differences flourished. Before long, “TikTok refugees” and “Xiaohongshu natives” were collaborating on homework assignments, swapping recipes, and bonding through humor. It was a rare moment of social media doing what we hope it can do: connect people, build bridges, and replace prejudice with curiosity.

Some of that same enthusiasm was also visible during IShowSpeed’s China tour. Despite the tour inevitably getting entangled with political and commercial interests, much of it was simply about an American boy swept up in the high energy of China’s vibrant cities and everything they offer.

Different from IShowSpeed, who is known for his meme-worthy online presence, Piker is primarily known for his radical political views. His China enthusiasm feels driven less by cultural curiosity and more by his critique of America.

Because of his stances — such as describing the US as a police state — it’s easy for Western critics to accuse him of hypocrisy in praising China, especially after a brief run-in with security police while livestreaming at Tiananmen Square.

Seen in broader context, Piker’s China trip reflects a shift in how China is used in American online discourse.

Before, it was Chinese ‘public intellectuals’ (公知) who praised the US as a ‘lighthouse country’ (灯塔国), a beacon of democracy, to indirectly critique China and promote a Western modernization model. Later, Chinese online influencers showcased their lives abroad to emphasize how much ‘brighter the moon’ was outside China.

In the post-Covid years, the current reversed: Western content creators, from TikTok influencers to political commentators, increasingly use China to make arguments that are fundamentally about America.

Between these cycles, authentic cultural curiosity gets pushed to the sidelines. The TikTok-refugee moment in early January may have been the closest we’ve come in years: a brief window where Chinese and American users met each other with curiosity, camaraderie, and creativity.

Hasan’s tour, in contrast, reflects a newer phase, one where China is increasingly used as a stage for Western political identity rather than a complex and diverse country to understand on its own terms. I think the honeymoon phase is over.

“Liu Sihan, Your School Uniform Ended Up in Angola”: China’s Second-Hand Clothing in Africa

[#刘思涵你的校服在非洲火了#]

A Chinese school uniform went viral after a Chinese social media user spotted it in Angola.

“Liu Sihan, your schooluniform is hot in Africa” (刘思涵你的校服在非洲火了) is a sentence that unexpectedly trended after a Chinese blogger named Xiao Le (小乐) shared a video of a schoolkid in Angola wearing a Chinese second-hand uniform from Qingdao Xushuilu Primary School, that had the nametag Liu Sihan on it.

The topic sparked discussions about what actually happens to clothing after it’s donated, and many people were surprised to learn how widely Chinese discarded clothing circulates in parts of Africa.

Liu Sihan’s mother, whose daughter is now a 9th grader in Qingdao, had previously donated the uniform to a community clothing donation box (社区旧衣回收箱) after Liu outgrew it. She intended it to help someone in need, never imagining it to travel all the way to Africa.

In light of this story, one netizen shared a video showing a local African market selling all kinds of Chinese school items, including backpacks, and people wearing clothing once belonging to workers for Chinese delivery platforms. “In Africa, you can see school uniforms from all parts of China, and even Meituan and Eleme outfits,” one blogger wrote.

When it comes to second-hand clothing trade, we know much more about Europe–Africa and US–Africa flows than about Chinese exports, and it seems there haven’t been many studies on this specific topic yet. Still, alongside China’s rapid economic transformations, the rise of fast fashion, and the fact that China is the world’s largest producer and consumer of textiles, the country now has an enormous abundance of second-hand clothing.

According to a 2023 study by Wu et al. (link), China still has a long way to go in sustainable clothing disposal. Around 40% of Chinese consumers either keep unwanted clothes at home or throw them away.

But there may be a shift underway. Donation options are expanding quickly, from government bins to brand programs, and from second-hand stores to online platforms that offer at-home pickup.

Chinese social media users posting images of school/work uniforms from China worn by Africans.

As awareness grows around the benefits of donating clothing (reducing waste, supporting sustainability, and the emotional satisfaction of giving), donation rates may rise significantly. The story of Liu Sihan’s uniform, which many found amusing, might even encourage more people to donate. And if that happens, scenes of African children (and adults) wearing Chinese-donated clothes may become much more common than they now are.

Digital Echoes

Laojunshan: New Hotspot in Cold Winter

Images from Xiaohongshu, 背包里的星子, 旅行定制师小漾

Go to Zibo for BBQ, go to Tianshui for malatang, go to Harbin for the Ice Festival, cycle to Kaifeng for soup dumplings, or head to Dunhuang to ride a camel — over recent years, a number of Chinese domestic destinations have turned into viral hotspots, boosted by online marketing initiatives and Xiaohongshu influencers.

This year, Laojunshan is among the places climbing the trending lists as a must-visit spot for its spectacular snow-covered landscapes that remind many of classical Chinese paintings. Laojunshan (老君山), a scenic mountain in Henan Province, is attracting more domestic tourists for winter excursions.

Xiaohongshu is filled with travel tips: how to get there from Luoyang station (by bus), and the best times of day to catch the snow in perfect light (7–9 AM or around 6–6:30 PM).

With Laojunshan, we see a familiar pattern: local tourism bureaus, state media, and influencers collectively driving new waves of visitors to the area, bringing crucial revenue to local industries during what would otherwise be slower winter months.

Platform Notes

WeChat New Features & Hong Kong Police on Douyin

🟦 WeChat has been gradually rolling out a new feature that allows users to recall a batch of messages all at once, which saves you the frantic effort of deleting each message individually after realizing you sent them to the wrong group (or just regret a late-night rant). Many users are welcoming the update, along with another feature that lets you delete a contact without wiping the entire chat history. This is useful for anyone who wants to preserve evidence of what happened before cutting ties.

🟦The Hong Kong Police Force recently celebrated its two-year anniversary on Douyin (the Chinese version of TikTok), having accumulated nearly 5 million followers during that time. To mark the occasion, they invited actor Simon Yam to record a commemorative video for their channel (@香港警察). The presence of the Hong Kong Police on the Chinese app — and the approachable, meme-friendly way they’ve chosen to engage with younger mainland audiences — is yet another signal of Hong Kong institutions’ strategic alignment with mainland China’s digital infrastructure, a shift that has been gradually taking place. The anniversary video proved popular on Douyin, attracting thousands of likes and comments.

The Extra Read

Why Chinese Elite Rùn to Japan (by ChinaTalk)

Over the past week, Japan has been trending every single day on Chinese social media in light of escalating bilateral tensions after Japanese PM Takaichi made remarks about Taiwan that China views as a direct military threat. The diplomatic freeze is triggering all kinds of trends, from rising anti-Japanese sentiment online and a ban on Japanese seafood imports to Chinese authorities warning citizens not to travel to Japan.

You’d think Chinese people would want to be anywhere but Japan right now — but the reality is far more nuanced.

In a recent feature in ChinaTalk, Jordan Schneider interviewed Japanese journalist & researcher Takehiro Masutomo (舛友雄大) who has just published a book about Japan’s new Chinese diaspora, explaining what draws Chinese dissidents, intellectuals, billionaires, and middle-class families to Tokyo.

The book is titled Run Ri: 潤日 Following the Footsteps of Elite Chinese Escaping to Japan (only available in Japanese and Traditional Chinese for now). (The word Rùn 润/潤, by the way, is Chinese online slang and meme expresses the desire to escape the country.)

A very interesting read on how Chinese communities are settling in Japan, a place they see as freer than Hong Kong and safer than the U.S., and one they’re surprisingly optimistic about — even more so than the Japanese themselves.

Read it here on ChinaTalk.

Thanks for reading this Eye on Digital China Signals. For fast-moving trends and deeper dives, keep an eye on the upcoming newsletters.

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Many thanks to Miranda Barnes for helping curate some of the topics in this edition.

— Manya

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About Eye on Digital China — Powered by What’s on Weibo

Published

5 days ago

November 18, 2025

What's on Weibo Team

Eye on Digital China is an independent publication by sinologist and China trend watcher Manya Koetse, offering analysis and reporting on China’s digital culture, media, and social trends. It builds on more than a decade of work at What’s on Weibo, the platform Manya founded in 2013 to track and explain developments on Chinese social media.

As China’s digital landscape has expanded from early microblogging to today’s AI-driven platforms and niche online communities, Eye on Digital China provides a broader look at the discussions, patterns, and dynamics shaping China’s online world. The newsletter is sent directly to subscribers and is co-published on Substack and on the What’s on Weibo platform, which also hosts the full archive of over twelve years of reporting.

Although Eye on Digital China—and earlier What’s on Weibo—is independently run by Manya Koetse, the work has been enriched by valuable contributions and ongoing conversations with others. For years, Miranda Barnes has been a daily sounding board whose ideas and discussions have helped spark new angles and deepen the analysis behind the site. Ruixin Zhang contributes thoughtful writing and fresh perspectives, and contributors such as Wendy Huang and others have added insights that help keep the coverage diverse and lively.

Our work has been featured or referenced in academic publications and by media outlets including BBC, CNN, The Guardian, The New York Times, South China Morning Post, The Washington Post, Newsweek, and many others. Prof. Liping Bai’s study in Perspectives described What’s on Weibo as a “bloglator” — a valuable bridge that helps China-related online stories move into the international news conversation.

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