
Their Labubus Are Fake, and They Don't Care
If your Labubu doll has more than nine teeth, or if it came in a box with a shiny bright finish, it may not be a Labubu at all. It may be a 'Lafufu.'
Knockoffs of the wildly popular elflike doll, which are collectively called 'the Monsters' and are sold exclusively by the Chinese toy retailer Pop Mart, have become almost as popular as the real thing — and they are much easier to find.
Many of the real Labubus come in blind boxes with limited availability, so you don't know which one you're going to get until you open it, fueling a sense of scarcity and surprise that adds to the appeal — and a growing resale market, where the dolls can go for much more than their $20 to $30 retail price range. As key chains, the dolls have been wholeheartedly adopted by the fashion set; it's not uncommon to see a $20 Labubu hanging from a $20,000 Birkin.
The hype is real: A life-size version of one of the dolls recently sold for more than $170,000 at auction, and Pop Marts in Britain briefly halted sales of the dolls in May after reports of chaotic crowd surges and fights among customers hoping to snag new releases.
Yet 'Lafufus,' as the fake figures are affectionately called, are also trending. Sold both in person (been to Canal Street recently?) and online at cheaper prices than their brethren's, they're much easier to find, even if they look a little … off.
Want all of The Times? Subscribe.

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


New York Times
an hour ago
- New York Times
A British Summer Dessert That Doesn't Have to Be Perfect
Culinary legend has it that Eton mess — a mixture of whipped cream, broken meringues and fresh berries — was invented in the 1920s, when an overexcited dog crushed a meringue confection at the British boarding school that shares its name with the dessert. In reality, the recipe dates back at least to the 19th century, when it appeared on a menu served to Queen Victoria as Eton Mess aux Fraises. Either way, the sweet is quintessentially British and, for the fashion designer turned ceramics artist Henry Holland, 42, a delicious reminder of his childhood in Ramsbottom, a small town near Manchester where he often made Eton mess with his mother using berries from their garden. 'You can help with it when you're really young because the whole point is making a mess,' he says. On a warm day in June, Holland was preparing his own version — which features vanilla and orange blossom-flavored whipped cream and a sprinkle of chopped mint — for the other ceramists working at his studio in Hackney, in East London. The serving vessel, a blue-and-white platter, was from his latest collection of gingham-patterned pottery, which also includes vases named for his favorite desserts: Battenberg, Pavlova and, of course, Eton. Holland first started working with clay when — after closing his 13-year-old fashion label, House of Holland, in 2020 — he took a class on a whim and quickly found himself 'addicted to the medium,' he says. He began posting pieces for sale on his Instagram page, and the London department store Liberty placed an order, prompting him to launch his own studio in 2021. With bold silhouettes and a bright color palette, the line is inspired by Holland's love for the Memphis Group and Art Deco design. He uses the Japanese technique of nerikomi — which involves layering and rolling together pieces of clay in various colors — to create swirling patterns. Over the past four years, Holland has expanded his offerings to include lighting, glassware, wallpaper and fabric, and he has plans to debut furniture in the near future. Still, his schedule remains less frantic than it once was: he aims to release one new collection every eighteen months, as opposed to the four per year expected by the fashion industry. The happy result: more time to host friends at his home in London's Victoria Park neighborhood, which he shares with his husband and business partner, David Hodgson, 43. In the summer, a simple garden salad and barbecued meats are often followed by heaps of Eton mess. 'It's always well received,' he says. 'Who doesn't love a bit of cream and sugar?' Want all of The Times? Subscribe.


News24
an hour ago
- News24
Entrepreneur Vanya Mangaliso, Sun Goddess founder, dies aged 53
The South African fashion world is mourning the loss of a true icon, Vanya Mangaliso, who passed away at the age of 56 on Thursday, June 26, 2025. The news of her passing was announced through the Instagram page of her renowned luxury fashion brand, Sun Goddess. Vanya was a visionary designer and Creative Director who left an indelible mark on the industry with her celebration of South African heritage through fashion. Read more | Veteran actress Meme Ditshego passes away at 60 Sun Goddess located in was founded in 2001 by Vanya alongside her husband, Thando Mangaliso, their brand was born out of a desire to harvest stories and images of South African traditions through fashion. This multi-award-winning brand has garnered significant recognition both locally and globally solidifying its position as a blueprint for African fashion boasting an impressive collection of over 50 awards in its 24 years of existing. Throughout its illustrious career, Sun Goddess has had the privilege of dressing some of the most admired A-listers for prestigious awards ceremonies and events, with some of their notable international stars being Hollywood actress Gabrielle Union and American soul and R&B songstress Goapele. Although Vanya's cause of death hasn't been disclosed but it's said that she 'passed away peacefully' surrounded by loved ones. Her family shared a statement. 'It is with deep sorrow that we announce the passing of Vanya Mangaliso, a renowned designer and Creative Director of the Afrochic Heritage fashion brand, Sun Goddess. She passed away peacefully on Thursday, 26 June 2025, at the age of 53, surrounded by loved ones,' reads the statement. Tributes and condolences flooded the comments section, with industry moguls alike such as David Tlale sending their heartfelt condolences. The family has since asked for some privacy from the public during these difficult times. View this post on Instagram A post shared by SUN GODDESS (@sungoddessafrolux)
Yahoo
an hour ago
- Yahoo
Anna Wintour is stepping down as the editor in chief of Vogue. These are the moments that turned her into a pop culture icon.
After 37 years as Vogue's editor in chief, Anna Wintour is officially stepping down. The fashion icon is not retiring altogether; instead, she will remain on as the publisher's global chief content officer as well as Vogue's global editorial director, per CNN. It is, nonetheless, the end of an era — one marked by Met Galas, groundbreaking (and sometimes controversial) magazine covers, and moments that cemented the EIC's place in pop culture history. From being dubbed 'Nuclear Wintour' by tabloids in the '90s for her icy management style to inspiring one of Meryl Streep's most famous roles, Wintour's reign at Vogue has shaped not only fashion but how the world views it. Prior to her reign as editor in chief of Vogue, Wintour worked across different magazines at Condé Nast, including House & Garden and the U.K. edition of Vogue. It was during her time at the U.K. fashion magazine, where she replaced beloved editor Bea Miller, that British tabloids gave her the titles 'Nuclear Wintour' and 'Wintour of Our Discontent' — nods to her reputation for being cold, demanding and unapologetically tough on her staff. In 1997, the British-born Wintour pushed back against the nicknames in a piece for the Guardian, writing that while journalists portrayed her as a 'wicked woman of steel,' she only recalled letting go of 'two or three' employees during her time at the magazine. 'There was a cozy but mildly eccentric atmosphere at British Vogue, which, after my time in New York, struck me as out of date,' Wintour recalled. 'It also seemed out of step with the fast developing social and political changes that were thundering through Britain in the eighties, under Margaret Thatcher. I felt the cozy approach was not responsive to intelligent women's changing lives. So I decided to infuse the magazine with a bit of American worldliness, even toughness.' While Wintour may not have appreciated the nicknames nor agreed with their accuracy, it's clear that her tough-as-nails reputation solidified a certain image of the ice queen fashion editor — an image that Wintour would carry with her throughout her career. In 1988, Wintour debuted her first cover of Vogue — and it shocked the fashion world. Model Michaela Bercu wore a $10,000 Christian Lacroix couture jacket with a bejeweled cross along with $50 Guess jeans, photographed outside in natural light. The casual tone of the photo was a stark change for the magazine; even Wintour herself didn't initially expect to run the photo on the cover. 'It was so unlike the studied and elegant close-ups that were typical of Vogue's covers back then, with tons of makeup and major jewelry,' Wintour wrote of the cover in a 2012 Vogue piece, adding that the photo 'broke all the rules.' The model 'wasn't looking at you, and worse, she had her eyes almost closed,' Wintour explained. 'Her hair was blowing across her face. It looked easy, casual, a moment that had been snapped on the street, which it had been, and which was the whole point.' Wintour said that the cover led to all sorts of incorrect interpretations, including that it was some sort of 'religious statement.' None were true. Instead, she wrote, 'I had just looked at that picture and sensed the winds of change. And you can't ask for more from a cover image than that.' In 2006, The Devil Wears Prada, a novel written by former Wintour assistant Lauren Weisberger, was adapted into a movie starring Anne Hathaway and Meryl Streep. Immediately, people assumed that Streep's character Miranda Priestly — EIC of the fictional Runway magazine — was a thinly veiled caricature of Wintour. Wintour has not said much publicly about the portrayal of Priestly, an icy, calculating and wildly demanding boss. In fact, Anna: The Biography author Amy Odell wrote that when the EIC learned that Weisberger had sold The Devil Wears Prada, 'she said to [managing editor Laurie] Jones, 'I cannot remember who that girl is,'' per Entertainment Weekly. Recently, the film — for which a sequel is in the works — received a West End musical adaptation, which Wintour attended in December 2024. Speaking to the BBC after the show, she said it is 'for the audience and for the people I work with to decide if there are any similarities between me and Miranda Priestly.' The Devil Wears Prada is not the only piece of pop culture to apparently pay tribute to the famed fashionista. She was also parodied on the show Ugly Betty with the character Fey Sommers. Interpretations of Wintour, always with her signature giant sunglasses, have also been seen on Saturday Night Live and The Simpsons. Wintour also appeared as herself in 2018's Ocean's 8, which was about a group of women pulling off a heist at the Met Gala. In 2009, R.J. Cutler's documentary The September Issue followed Wintour as she and her team crafted the September 2007 edition of Vogue — at the time, the largest issue to date. It peeled back the curtain on working for Wintour, revealing her exacting standards and intense leadership style at the center of the high-pressure world of fashion publishing. In a review of the documentary by Roger Ebert, the late film critic wrote, 'There cannot have been a page she wasn't involved with. This seems to be a woman who is concerned with one thing above all: The implementation of her opinion.' Fashion's biggest night wouldn't be quite the same without the influence of Wintour. In 1995, she took over as chair of the Met Gala, transforming the annual fundraiser for the Metropolitan Museum of Art's Costume Institute from a modest society dinner into a global pop culture phenomenon. Wintour revamped the guest list, inviting A-list celebrities, designers, models and entertainment industry power players. This coincided with the rise of the celebrity stylist, putting these behind-the-scenes fashion players on display just as much as the stars wearing their outfits. Wintour helped elevate pop culture icons like Rihanna, whose outfit choices have become among the most anticipated on the red carpet. In 2015, Wintour made headlines with the Met Gala once again. 'China: Through the Looking Glass' was one of the most attended exhibitions — but also a highly controversial one, as Wintour and her team were accused of promoting appropriation and showing Eastern culture through a Western lens. Still, the Met Gala has continued to push cultural conversation forward, as it did this year with its theme 'Superfine: Tailoring Black Style,' which spotlighted Black designers and Black identity. In May, Wintour told E! News of the exhibit, 'It's about optimism and hope and community. I hope that many, many people come and see it.'