What Labubu figures reveal about retail’s custom future
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When Naomi Osaka arrived at this year’s U.S. Open, tennis fans didn’t just notice her forehand. Hanging from her bag were glittering figurines, each shaped like a rabbit-like character known as Labubu, bedazzled with crystals and inspired by tennis legends. These miniature companions, created by designer Kerin Rose Gold, weren’t just accessories. They were signals of a broader movement within fashion and retail toward exclusivity, personalization and limited-run collectible culture.
Gold, the founder of the accessory label a-morir, made her name creating bespoke adornments for stars such as Rihanna and Beyoncé. Her “Lablingblings,” as she calls them, are custom 3D-printed mascots adorned with thousands of hand-placed crystals. Each takes up to 13 hours to complete. The versions that Osaka carries are inspired by icons like Billie Jean King and Arthur Ashe. They retail for $495 to $525 and are available only for a limited time during the tournament.
The mascots may appear playful on the surface, but their popularity reveals something deeper. They sit at the intersection of nostalgia, celebrity association and the growing demand for hyper-personalized consumer goods. For a younger demographic raised on collectible culture and digital exclusivity, owning something unique and ephemeral has become just as important as the object itself.
Personalization as a retail differentiator
The accessories market is undergoing a transformation. What was once driven by seasonality is now influenced by immediacy and individuality. According to market researchers at Euromonitor and McKinsey, personalization is one of the fastest-growing segments across fashion and luxury retail, with consumers willing to pay premiums of up to 20 percent for items that feel tailored to them.
That demand isn’t purely aspirational. Advances in additive manufacturing and digital modeling have made small-batch production viable. Designers like Gold can produce unique pieces quickly without the scale once needed to justify production. The Lablingblings are not pre-made; each is designed only when Osaka progresses to the next round, creating both scarcity and relevance.
In the past, exclusive design was largely reserved for haute couture or high jewelry. Now, the appetite for unique and story-driven accessories has filtered into more accessible categories. As a result, mass-market retailers are adapting their models to include configurable elements, from color choices to engravings to digitally embedded content. Customization is no longer a feature. It is a selling point.
The crossover between fashion and collectibles
What distinguishes the Lablingblings from typical merch is that they belong as much to the world of collectibles as they do to fashion. There are only a few in circulation. They are produced in sequence, aligned with Osaka’s match schedule. They are themed, named and marketed with the aura of limited-edition releases. They have price points that mirror contemporary art more than fast fashion.
This crossover is increasingly common. Collaborations between luxury houses and collectible toy companies, from Louis Vuitton’s work with artist Yayoi Kusama to Gucci’s digital tie-ins with Roblox, reflect a shift in how brands approach scarcity and desire. Retailers are using narratives to amplify value. In Gold’s case, the narratives are anchored in tennis history, celebrity involvement and visible craftsmanship.
There’s also a viral element. Each Lablingbling is easily shareable, photogenic and social media–ready. Their popularity has coincided with a resurgence in decorative figurines, where drops from designers and influencers can sell out within minutes. Limited-time product availability has become a strategy to build anticipation and command attention.
Impact on broader retail landscapes
While bespoke mascots are a niche, their success points to a broader shift. Physical retail spaces are being reimagined as experiential centers where consumers can participate in the creation of their products. Whether through design kiosks, augmented reality previews or made-to-order services, the end consumer is becoming part of the manufacturing story.
Major brands are taking cues from such trends. Nike’s By You program, Tiffany’s engraved collections and Hermès’ custom saddlery each cater to consumers looking for exclusivity. But unlike mass personalization, the kind of made-to-order artistry shown by Gold offers something more tactile and emotionally resonant.
Retailers not yet embracing this shift risk losing relevance among younger buyers who increasingly value uniqueness over utility. Whether they are purchasing a tennis-themed crystal bunny or a one-off sneaker collaboration, the underlying driver is the same. Consumers want to see themselves reflected in the products they choose.
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