Inuk artist Jessica Mitchell initially resisted the Labubu trend, recalling her past obsession with Beanie Babies in the ’90s. However, after seeing fellow Indigenous artists incorporating custom-made ribbon skirts and beadwork into their Labubu creations, Mitchell was inspired to join in. Renaming her customized creation “Labubukulu,” she transformed the standard Labubu by replacing its furry exterior with sealskin, infusing it with an Indigenous touch.
Mitchell is among a global community of creators who are infusing Indigenous elements into the popular Chinese collectibles as a means to showcase their craftsmanship, honor their heritage, and introduce a contemporary twist to age-old traditions. Similarly, Tlingit artist Lily Hope, known for her large-scale Ravenstail and Chilkat weaving, has shifted her focus to crafting regalia for Labubus, attributing this shift to her children’s fascination with the tiny creatures.
Hope’s innovative Labubu fashion pieces have garnered attention, including a rainbow-colored regalia crafted from repurposed dance cuffs that went viral on social media. Embracing the Labubu trend, Mitchell has also created unique Labubu designs, such as one wrapped in sheared beaver fur, with proceeds from a sealskin Labubu raffle benefiting the Yellowknife Women’s Society.
While some like Mitchell find allure in the mischievous nature of the Labubus, Hope is less enchanted by the creatures themselves but views the trend as an opportunity to showcase weaving styles and connect with her community. For Hope, weaving is not just a craft but a way to bond with others and carry on a legacy, emphasizing the communal aspect of creating together.
Sewing Labubu outfits has become a means for Mitchell to explore her heritage, appreciating the diverse interpretations of Indigenous styles on the miniature creatures. The freedom to reimagine Labubus in various Indigenous aesthetics offers a platform for self-expression and visibility within the artistic community.