logo
Major crackdown on fake Labubu dolls: Urgent warning over 'unsafe' counterfeit collectables flooding UK market with thousands of toys seized across Britain

Major crackdown on fake Labubu dolls: Urgent warning over 'unsafe' counterfeit collectables flooding UK market with thousands of toys seized across Britain

Daily Mail​4 days ago
Labubu dolls have become a global sensation amongst children, teenagers and even the like of major celebrities from Kim Kardashian to Rihanna.
However, such high demand for the viral collectables, sold by Chinese toymaker Popmart, has seen UK markets flooded with 'unsafe' counterfeits.
The Chartered Trading Standards (CTSI) Institute are warning parents and collectors about fakes being sold illegally by third-party sellers online and inside local shops.
Their teams have seized thousands of unsafe counterfeit Labubu dolls in recent weeks - with many even being reported to them by concerned parents.
In just one month, over 2,000 were confiscated from 13 retailers in North Tyneside, with further seizures in Greater Manchester, Humberside, North Somerset, and Scotland.
Fake Labubus are poorly made and often breach the UK's Toys (Safety) Regulations 2011, , lacking CE or UKCA safety markings, importer details, and required safety warnings.
Without proper safety checks, they may also contain toxic substances such as lead, harmful dyes, or banned plasticisers.
They are also deemed unsafe due to many of them containing small, detachable parts such as eyes, hands, and feet, which present a serious choking hazard to young children.
Loose stitching and exposed stuffing further increase the risk of suffocation.
Genuine Labubu dolls from Pop Mart have a distinctive elf-like design and include authenticity markers, including a holographic Pop Mart sticker and a scannable QR code linking to their official website.
Pop Mart has even started putting a subtle UV stamp on one foot of newer editions to combat fakes.
Signs of a fake include overly vibrant colours and too many teeth - authentic Labubus only have nine.
These markers are commonly missing or poorly replicated on counterfeit dolls.
CTSI has issued advise to consumers who still want to collect Labubus but want to avoid dangerous fakes.
Before buying, make sure you inspect the packaging carefully – check for a UKCA or CE mark, and make sure the product lists a UK-based importer or manufacturer. Warnings and usage instructions should be visible on the box.
Check for authenticity markers, especially the UV stamp on the Labubus feet on recent releases. Under UV light, you should see a silhouette of the specific model.
Inspect the appearance and compare it to pictures of genuine dolls - be wary of any poorly done stitching, overly bright colours and too many teeth.
Don't be won over by 'bargains' as counterfeits are often cheaper than the real deal.
The figures retail from around £17.50, but price varies depending on size, edition and rarity - with some fetching up to thousands of pounds from resellers.
The best way to make sure you're buying genuine Labubus is to purchase them straight from Pop Mart either in store or online.
Kerry Nicol, External Affairs Manager at CTSI, said: 'These dolls are fast becoming the latest must have craze, which is being amplified by social media influencers promoting and showcasing 'unboxing' of the products on platforms such as TikTok and Instagram.
'Supply and demand means that legitimate Labubu dolls are almost impossible to find.
'Parents understandably want to be able to get their hands on these toys for their children and rightly expect the toys they buy to be safe, but dangerous counterfeits are finding their way into the market, often being sold by third-party sellers on online marketplaces and from shops on the highstreet that have no regard for the safety of their customers.
'These fake products bypass the rigorous safety checks and compliance requirements the law demands, meaning they could contain choking hazards, toxic materials, or faulty components that put children at serious risk.
'Everyone involved in the supply chain – from manufacturers and fulfilment houses to sellers and marketplaces should have a role to play in ensuring unsafe toys never reach the hands of children.'
Christine Heemskerk, CTSI Lead Officer for Product Safety, said: 'Fake dolls are poorly made in unsafe manufacturing premises.
Counterfeiters do not follow safety standards and are unlikely to have good factory controls in place.
A fake Labubu doll might contain hazardous chemicals in the plastic which can cause lifetime damage to a child's organs.
Small parts such as eyes could easily detach posing a serious choking hazard for small children. Beware of putting your child at risk by buying cheap unsafe fakes.
Jerry Burnie, Head of Toy Safety at British Toy and Hobby Association (BTHA), said: 'Counterfeit toys are a significant risk as they are unlikely to meet the strict toy safety standards required of the legitimate toy maker.
'When shopping for branded items we would always recommend researching the toy brand and try to buy from the company directly or through a reputable retailer who you can easily return the product to.
'If you are buying online, particularly through an online marketplace, then include the name of the toy company in the search and compare the listing against the toy company's own website.'
The grinning toys have been inspired by the illustrated book series The Monsters, created by Hong Kong artist Kasing Lung, in which Labubus are a tribe of female elves.
They have become the must-have item for thousands of young adults, teens and children.
A major part of the appeal is that buying one is a bit of a gamble as many of them come in 'blind boxes' - meaning customers don't know which colour Labubu they have until they open it.
Some are rarer than others or more sought after and there are 'surprise' editions which are even harder to come by.
Many people queue up outside Pop Mart locations for up to five hours on days they are releasing a new series of dolls just to get their hands on one or resell them on for a higher price.
In May, a mass brawl broke out between a group of shoppers who were trying to get their hands on the viral Labubu toys.
Shocking footage shared on social media showed several men hurling punches at one another as security guards and others desperately tried to separate them.
The group had supposedly been trying to purchase some Labubu dolls at a Pop Mart store in Stratford's Westfield shopping centre when the chaos erupted.
It is not the first time the Labubus sparked violence among fans of the furry fashion accessory, with one woman also telling the BBC she witnessed a fight between a worker and a shopper in the same store.
Pop Mart then announced it would pull all of its Labubu plushies from its 16 UK stores until June to 'prevent any potential safety issues'.
At the time, the company told the BBC this was 'not the kind of customer experience it aimed to offer' and promised the dolls would 'return to physical stores' next month as they work on a 'new release mechanism'.
Orange background

Try Our AI Features

Explore what Daily8 AI can do for you:

Comments

No comments yet...

Related Articles

How scary can theatre really be? My horror marathon in search of stage frights
How scary can theatre really be? My horror marathon in search of stage frights

The Guardian

time36 minutes ago

  • The Guardian

How scary can theatre really be? My horror marathon in search of stage frights

I am a wimp. When my friends used to gather to screech over horror movies after school, I would sit watching Countdown with one of their mums until it was over. I had to watch The Blair Witch Project with all the lights on and I never got through the opening scene of The Ring. But when it comes to horror on stage, I've rarely been fazed. Bar the odd jump scare, how scary can theatre really be? I set out to find out by watching a full day of horror shows at the Edinburgh fringe. I start off gently with Elysium, a winding eat-the-rich tale told through lilting song. The gated community of Elysium Court is designed to keep the riff-raff out, but the inhabitants should be more worried about what they're locking in. With the air of two friends casually making music in their garage, Milly Blue and Jessie Maryon Davies of Ghouls Aloud unpack the concept that exclusivity equals safety, watching from a distance as the containment crushes everyone in Elysium Court into the same make and model – or destroys them if they attempt to stand out. Blue's storytelling is sweet and unsettling, though occasionally veers off into tangents that don't serve the story. Davies laces tension through with moody piano, with Blue looping her voice in climbing harmonies above, as strange events begin to haunt Elysium's newest resident. Digging into the soil beneath the standard-issue astroturf that clamps down every garden in the Court, old monsters start to emerge. The darkness creeps in slowly and the script wants tightening, with some songs pausing the action rather than driving it on, but I decide I like my horror being sung to me. Maybe this was the problem all along. From the candy-pink satire of Elysium, the pitch-black Scatter: A Horror Play couldn't be a sharper shift. The room is so dark it's a struggle to even find your seat. This low lighting continues as Patrick McPherson's jaw-clenching show of hereditary haunting reserves any bright light for blinding flashes. Liberally smattered with jump scares, the show sometimes leans so heavily on Will Hayman's intense shadows and sharp, saturated filters that the design comes to feel like the main event rather than an anchor to sink us deeper into the story. McPherson plays Tom, a young man reluctantly recounting the trip he and his brother took to scatter their father's ashes in rural Wales. In the predictably traumatising process, they discover that their dad's end-of-life aggression, previously brushed off as delirium, was something far more sinister, his acts of violence actually a deeply troubled form of protection. Jonny Harvey's direction makes repeated use of the classic torch sweeping around a blackened room and heavy, breathless silences followed by piercing, sinew-shaking screams. These old tricks are effective. I sink into my seat every time the torch winds up. A traditional folk horror, Scatter takes itself seriously. You can't help wondering if the balance of tension would intensify if some lightness was buried anywhere in the text; McPherson's performance, though convincing, starts off dour and stays similarly severe throughout. The ending is rushed, but Scatter sets out to scare, and it succeeds. As we pick our way out of the theatre, my heart takes a moment to return to its regular pace. Later that afternoon, in another about-turn, Jed Mathre does a stellar job of making a whole room want to punch him in the face. Melanie Godsey's existential comedy, Sponsored By the Void, offers a queer awakening through the form of a supernatural visitor. Mathre plays the emotionally illiterate boyfriend to Leah (Kelly Karcher) who is so overburdened by his uselessness that she's close to bursting. When The Void (Jennifer Ewing) waltzes in, Leah is immediately felled by her hot dom energy and her demand that Leah does exactly what she wants. 'Do you eat?' Leah asks her, quivering. 'I devour,' The Void replies. Created by Seattle-based company The Co-Conspirators, this goofy, sultry sci-fi horror revels in Leah's uncompromising newfound confidence, with Kennedy looking on in horror and Leah's friend Val (Be Russell, funny to her bones) watching with delight as she rejects everything she has previously accepted without resistance. Subservience to men is the real horror here. Eschewing subtleness, the play asks direct questions of how a woman can get trapped into a role she never asked for, and how she can – with support of a sexy, suited-up otherworldly entity – break her way out of it. 'I just want you to know what you're getting into,' David Alnwick says as he pops his head around the door, checking we're not actually here for the musical cabaret going on upstairs, before leaping to the side of the stage to fiddle with the video setup. Where a handful of these horror shows use film to enhance the spookiness, Alnwick's The Dare Witch Project is the only one to rely on it. Soldiering through technical issues, our eager host talks us through the footage he supposedly found in an old VHS he got off eBay. The man in the recordings looks surprisingly like him, with his clothes and his voice, and a determination to complete a challenge inspired by the infamous found-footage movie The Blair Witch Project. While most of the tension from this Free Fringe show comes from the screen, as Alnwick presents these clips of the mysterious doppelganger recording himself in the woods, there is a singular, inspired physical magic trick used to beautifully creepy effect. The looping inevitability built into the show mounts tension as we wait, nervously, for what we know is coming, but it takes too long to get there to truly shake any nerves. I find myself wanting to be more scared than I am. Perhaps I'm becoming a horror convert after all. The last show of the evening is the least terrifying. Maria Teresa Creasey's toothless attempt at a vampiric comedy-horror, Degenerate, begins ominously, as the writer-performer lies face-down, bound and gagged, waiting for one of us to untie her. But that's the end of the innovation. Pitched as experimental, Creasey's babbling speech acts like a fly being swatted, scattily returning to a smattering of ideas but never settling long enough to offer a performance worth our time. Hazily buzzing around the notion of women being deemed irrelevant as they age, Creasey's character eventually flits towards the eternal youth of the vampire and lip-syncs to clips of scary movies. She wants to last for ever. I'm glad this performance does not. Elysium is at Gilded Balloon at Appleton Tower until 24 August; Scatter: A Horror Play is at Underbelly, Cowgate, until 24 August; Sponsored By the Void is at Greenside @ Riddles Court until 16 August; David Alnwick: The Dare Witch Project is at PBH's Free Fringe @ Voodoo Rooms until 24 August; Degenerate is at Pleasance Courtyard until 23 August

Man arrested after Bournemouth player reports racial abuse at Liverpool match
Man arrested after Bournemouth player reports racial abuse at Liverpool match

The Guardian

timean hour ago

  • The Guardian

Man arrested after Bournemouth player reports racial abuse at Liverpool match

A 47-year-old man has been arrested after a Bournemouth player reported being racially abused during his team's match against Liverpool on Friday, police have said. A second arrest over racist abuse was made at a separate game on Saturday at the University of Bradford Stadium, Bradford City AFC said. The man from Liverpool was arrested on Saturday on suspicion of a racially aggravated public order offence and has been taken into custody to be interviewed, Merseyside police said. During Friday's fixture, Bournemouth's Antoine Semenyo reported being racially abused by a spectator, prompting the match referee, Anthony Taylor, to stop play in the 29th minute during the first Premier League fixture of the season. A 47-year-old man was ejected from the stadium. Ch Insp Kev Chatterton, the match commander for the Liverpool v Bournemouth game, previously said: 'Merseyside police will not tolerate hate crime of any form. 'We take incidents like this very seriously, and in cases like this we will be proactively seeking football banning orders, with the club, against those responsible.' He added: 'There is no place for racism and it is vital that anyone who witnesses such an offence reports it to stewards, or the police immediately, so we can take the necessary action like we did this evening. 'As with all matches, we work very closely with both Liverpool and Everton FC to ensure the safety of the public, and the players.' A spokesperson for Liverpool FC said: 'Liverpool Football Club is aware of an allegation of racist abuse made during our Premier League game against Bournemouth. 'We condemn racism and discrimination in all forms; it has no place in society, or football.' The match referee, Anthony Taylor, spoke with the managers Arne Slot and Andoni Iraola after Semenyo reported being abused. On Saturday, Bradford City AFC said West Yorkshire police had made an arrest during a game at the University of Bradford Stadium. The club said: 'Bradford City AFC is aware of an allegation of racist abuse from an individual in the away section towards one of our players during today's Sky Bet League One game against Luton Town. 'Bradford City AFC strongly condemns racism and discrimination in all forms. We have a zero tolerance policy to such unacceptable behaviour.' In an interview, Bradford's manager, Graham Alexander, said there was no place in football for racism, adding: 'We saw it last night at the Liverpool game – it has to be zero tolerance. There's no excuse for it, at all.'

Why I'm offering £1 to shoppers who report thieves at Iceland
Why I'm offering £1 to shoppers who report thieves at Iceland

Times

timean hour ago

  • Times

Why I'm offering £1 to shoppers who report thieves at Iceland

A shopkeeper in Wrexham was told by police earlier this month to take down a sign calling shoplifters 'scumbags' because it could cause offence. The Information Commissioner's Office also reminded retailers that sharing CCTV stills of offenders might breach data protection laws. You really couldn't make it up. I'm not sure when we decided that the feelings of thieves should be protected over the safety of shopworkers and customers, but that's where we've ended up. Law-abiding people are made to feel like they're on trial, while the lawless walk away without consequence. The word 'shoplifting' itself is part of the problem; it makes it sound like a cheeky bit of pilfering. In reality, it's theft, and increasingly violent.

DOWNLOAD THE APP

Get Started Now: Download the App

Ready to dive into a world of global content with local flavor? Download Daily8 app today from your preferred app store and start exploring.
app-storeplay-store