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A woman named Stella purchased her initial Jellycat plush toy during a time of unemployment during the global health crisis. Inspired by a friend's passion for these British-designed creatures, her curiosity was truly ignited when she saw a unique gingerbread cottage plushie circulating on a popular social networking app.

Although Christmas isn't traditionally observed in China, acting more as a retail occasion than a religious festival, the imagery of festive cottages appealed to Stella. "It doesn't hold much for me... But I always like the sight of gingerbread houses," she states. This prompted her to request an old friend in Guangzhou to purchase it for her.

That acquisition was made in 2021, coinciding with the brand was about of achieving enormous success across China and beyond. "Everyone felt uneasy, and no-one knew what would happen," says Stella, who developed a habit of stroking and squeezing her plushies to cope throughout that stressful time. Residing in Beijing, which experienced among the most stringent restrictions in the world, she passed extended periods at home.

Now 32 and working as a tourism sector professional, Stella continues to expand her assortment. It has reached around 120 items, representing an investment of about 36,000 yuan. "At my age, you have numerous matters that you cannot share with other people... and the troubles we encounter are a lot more complex than before," she notes reflectively. "These soft toys assist me in managing my feelings."

Initially marketed with kids in mind, these soft creatures have become an international sensation, particularly in China where a increasingly disenchanted youth demographic has been seeking solace in them as a source of emotional support.

Understanding the Kidults

Stella's Gingerbread house plushie is part of the "Amuseables" series, a set of toys featuring small faces based on commonplace inanimate objects, from toilet rolls to hard-boiled eggs. These toys are considered the "standout products" which "resonate with a wide Gen-Z and millennial demographic" around the world, as noted by industry analysts.

The surge in popularity "could have something to do with a desire to feel companiable," suggest experts. While it's hard to say for sure whether the introduction of the iconic Amuseable line in 2018 was an intentional move to target the young adult market, toy manufacturers are under pressure to must find new markets due to falling fertility rates across numerous countries.

Jellycat entered China back in 2015. By laying the necessary "foundation", the toy maker was able to capture "the mood during Covid"—when people sought solace during widespread anxiety—capitalizing on this success there, according to business consultants.

Jellycat's popularity was further boosted by creative pop-up experiences. These retail events sometimes offered a selection of exclusive "food" products. Many enthusiasts record themselves interacting and share the clips online.

Adaptation to local tastes proved to be an essential strategy. For instance, fans could purchase stuffed toy interpretations of traditional British fare such as fish and chips during a temporary shop in London. Conversely, items like teapot and teacup plushies were sold at special outlets in Chinese metropolises last year.

Last year, the UK-based firm's revenue reportedly rose significantly to an impressive figure. In the same period, sales of an estimated $117 million worth of toys in China on major e-commerce platforms, per research estimates.

This growth parallels a wider boom within China's collectable-toy market driven by adult consumers in search of emotional comfort and community. Total revenue from collectible items in China are expected to top 110 billion yuan this year, according to a recent analysis.

The remarkable popularity of brands like Labubu, elf-like dolls from Chinese toy maker Pop Mart, highlights the market's growing appetite towards designer collectibles. This "adult-child" phenomenon isn't unique to China; adults globally are starting to question "traditional notions of what it means to be an adult," observe cultural experts.

Particularly, especially the eggplant character—affectionately dubbed "the boss" by Chinese fans—have also spawned a wave of memes, with many sharing grievances regarding the pressures of adulthood. On social media, the "aubergine boss" tag serves as a platform where fans draw different expressions on their toy, showing it in different states from drinking to fake-smiling.

For example, a marketing professional from Hong Kong, Wendy Hui, modified her aubergine toy adding bags around its eyes and placing a pair of glasses on it. She posted a picture on a social platform with the caption: "The mood of employees on Monday." "I was working at home even during my days off," she explains. "I just wanted to convey the level of exhaustion I felt."

Thus, the brand has emerged as an unexpected, whimsical channel for China's youth to voice their grievances over economic challenges, in which hard work no longer ensure commensurate returns. Amid heavy online censorship, the internet remains an important, perhaps the primary, arena for such conversations.

The brand's frequent launches of limited-edition designs and the discontinuation of certain lines—an approach often called "scarcity marketing" in China—has also driven {