This article explores the fascinating phenomenon of collectible figures, like Molly and Labubu, and their appeal despite their lack of practical function. Drawing from an interview with Pop Mart founder Wang Ning, it delves into the psychological factors driving the seemingly irrational demand for these items. It contrasts the inherent obsolescence of functional goods with the perceived permanence of art and collectibles, ultimately questioning the value proposition of these items beyond their emotional connection.
The allure of collectibles, particularly in the case of figures like Molly and Labubu, transcends the realm of simple practicality. Recent commentary, echoing the views of Pop Mart founder Wang Ning, highlights a critical distinction between these figurines and more functional products. Wang Ning's assertion that if Molly were merely a functional USB drive, demand would likely plummet, is revealing. The implication is that the overwhelming appeal of these collectibles stems not from their utility, but from a complex interplay of emotional factors.
The argument centers on the inherent obsolescence of functional goods. Phones, computers, and other technologically advanced items are constantly being superseded by newer models. This inherent depreciation, a constant cycle of "update and replace," is a stark contrast to the perceived timeless quality of art and collectibles. A museum-quality painting, for example, does not become obsolete; its value, in many cases, increases over time. This is precisely the point Wang Ning seems to be making: the value of Molly and Labubu, their enduring appeal, lies in their lack of functional value, their status as objects of desire, not objects of necessity.
This lack of practical use, however, raises an intriguing question: what exactly is driving this seemingly irrational demand? The comments on the availability of Labubu on platforms like AliExpress suggest a fervent desire to own these figures, a desire that transcends mere practicality. This suggests a powerful emotional connection, a yearning for something beyond the tangible. It speaks to a desire for a unique piece, a connection to a specific cultural moment, or even a sense of community among collectors. The “Molly” phenomenon, therefore, may not be simply about the figure itself, but about the experience and community it represents.
The final statement, "看完更想当一个废物了," (after reading, I want to be a waste product), while seemingly self-deprecating, carries a deeper meaning. It speaks to the profound disconnect between the perceived value of these collectibles and the inherent practicality of everyday life. It hints at a longing for something beyond the constantly evolving and replaceable, a yearning for permanence and emotional connection in a rapidly changing world. The value, therefore, is not in the object itself, but rather in the experience, the feeling, and the community it fosters.
Ultimately, the case of Molly and Labubu highlights a fascinating psychological interplay between emotional value and perceived utility. While the practicality of these figurines is negligible, their ability to evoke a sense of belonging, nostalgia, and emotional connection makes them desirable collectibles. This suggests a deeper inquiry into the human need for tangible representations of intangible emotions and experiences.
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