I’m in a hall for conventions on a hot Hong Kong summer day. Kids are lining up all day long to meet their favourite Japanese artists. Although you would expect to see this sort of response from musicians or sports stars However, they’re waiting to buy toys or obtain signatures from a group of Japanese creators who outside of this planet, many people haven’t heard of. In this day and age where everything is accessible without much effort it is only few things — such as celebrity-designed sneakers -which are in such the market that people are waiting in line for days. But, this is not the norm for sofubi -it is a limited-edition art item, created in small quantities by skilled craftsmen who make each one by hand.
Sofubi 101
Sofubi is a term that refers to sofubi is an amalgamation of “soft” in addition to” vinyl” and is used to describe figures made from PVC. They are extremely tough, despite their malleable appearance that suggests they are almost squishy. They often reference Japanese themes like monsters from kaiju and traditional folklore figures but are rendered with hues that are wild and psychedelic, with gradations, glitter inserts and tones that vary from vivid fluorescent shades and soft pastels.
Domestically, they are created by craftspeople, many of whom have a long history in their field. This boosts their esteem and attraction. Teresa Chiba, a popular sofubi artist whose works are usually based on traditional Japanese folk toys , such as inuhariko and akabeko. She says that the difference between things like mass-produced gacha gacha (capsule) toys and handmade sofubi is that the former is a manufactured product, whereas sofubi are closer to handmade artworks. Chiba explains that the aesthetics of sofubi are identical to traditional folk toys in that they have a certain roundness, and they have a “looseness that allows you to see the hand of a person who made them.”
Sofubi are made of PVC or polyvinyl chloride which was first synthesized within Germany in 1872 and later made into a plastic by mixing it with various other materials in 1926. The traditional method of production which is standard in Japan makes use of a wax model that melts while making a metal mold. Each step is completed manually, and experienced craftsmen use their expertise to distribute the material over the mold’s crevices. This permits the final product to display gorgeous detail as well as an airy, hollow body.
As sofubi become more popularly produced in China ManabuTakeo, the manager and producer of sofubi of several popular artists, states that Japanese creators use local artisans. He says “The method of making these in the United States is very different. In China they put all the materials into a black box and through a hole , they release by themselves. In Japan, craftsmen make each one individually and they can make really gorgeous, clear sofubi using this technique.”
Aren’t Toys suitable for Kids?
Sofubi’s appeal for collectors is diverse. Firstly, they flaunt an subversive subculture. When compared to characters used in commercial promotions or toys for children and toys, sofubi are mascots representing Japan’s underground. Hideyuki Katsumata works as an artist from Osaka who paints character-driven artworks that are characterized by strong lines and vibrant colors. Although his initial inspiration was by lowbrow art such as the graffiti artist Barry McGee and Osgemeos, his work incorporates elements from the folk toy world such as kokeshi, as well as shungas (erotic print made of wood) in his work. Sofubi UK has been made by him for the last 10 years; the most recent edition features a giant phallus on its head.
The popular artist Izumonster’s characters have an erotic look that is grotesque. While he is one of the most prolific artists of sofubi in the scene with a large studio in Nagoya where he performs the designing, prototyping and spray painting, he also gained the initial clients base of an artist who tattoos and also works at Nagoya’s 8 Ball tattoo shop. Both his tattoos and his sofubi utilize vibrant colors, featuring motifs such as monsters, kaiju, bizarre-looking space creatures, as well as naked, explicit characters that use full body irezumi ink. Two of his characters are made to resemble male and female genitals and are in vibrant colors.
Although Katsumata insists, while laughing, that the artist has not received any art school training so his work is natural “low brow” without consciously trying for it. For the consumer, this is an important aspect of what makes his work appealing. Chiba says, “Things like high culture and fashion are fantastic, but they are only available to a certain section of people. When you reach a certain amount of money, there is no way to access it. It’s the thing I like about Kabuki, too. It’s subculture, a type of entertainment like TV, in contrast to Noh.”
Social Media Connections
Another significant aspect of sofubi fandom is the relationship to social media. A lot of fans utilize their platforms to showcase their goods. Izumonster claims that both go hand-in-hand. “Social media is really important in the toy world. If it wasn’t for Instagram it wouldn’t have been able to grow as fast.” He explains, “Collectors love to show them on their feed -They take them outside and snap photos of them. If you want to know how to buy these, make sure you follow everyone’s account since that’s where you will find information about when they will be sold.”
Another significant aspect of current sofubi culture is the prolific female fan base, which has swooped into an inaccessible demographic of consumers. One of the most adored sofubi creators of the present era is the artist Konatsu. Konatsu has 67,000 followers on her main Instagram account, and her adorable Kaiju toys — one of them is a cat monster named Negora attracts not only the regular designer toy crowd, which can be described as to date male geeks but also a vast contingent of women. Her popularity, as well as other female artists who rose up during the same time , like Chiba or Kaori Hinata, has created an overwhelmingly female-oriented clientele many of whom were originally attracted to dolls and it’s not uncommon to see as many women as men at events.
The Soft Vinyl Legacy
While sofubi are trending in the present, they have a long history and rose in prominence in the years following World War II. A large portion of these were specifically designed to shipping to US. Kaiju’s popularity made soft vinyl toys explode in popularity during the 1960s. This was followed by other trends including superheroes, characters and robots. Takeo at 58 years old, belongs to the generation that was raised with Ultraman and Godzilla and his love for sofubi is driven by nostalgia. Takeo says “Up to senior high school my friends bought the toys and played with them. I largely forgot about them when I was in high school, but as I reached the age of adulthood, people around the same age started to produce sofubi during the 80s with the same sensibilities and made me think to my early days.”
A designer sofubi boom started in the 90s instigated by men’s street fashion brands centered around Ura-Harajuku. Brands such as Bounty Hunter sold astronomical amounts of toys. They also introduced new value to these toys and transformed them into items that were designed to be lifestyle, paired with street style and sneakers, targeted at adults. Takeo was also aware of the popular culture as well, and felt that this design had potential. He began producing them with women indie artists.
Some other contemporary makers, such as Katsumata, who first started making sofubi 10 years ago, also recall this boom. “When the 20s were when sofubi got big again and the fashion brand Beams was creating Ultraman and kaiju remakes,” He says “I saw them around this period, however it was hotter back in the day, more so than it is now. In my time, designer sofubi became trendy, as did I realize that even it’s not a major maker, you could produce small amounts. I think as a design as well as a decorative piece of art it’s worth the price. The quality of the item in itself is higher.”
Consumer Craze
The one thing that the sofubi market has in common with essential streetwear items like T-shirts and sneakers like those made by Supreme The reason is that their they are often limited in their release. The lack of availability adds to their popularity. Makers are adept at knowing consumer behavior and market. Chiba claims that in the past independent sofubi makers were often people who were just doing it as a hobby and might have created them for sentimental reasons only; hers is the generation that “wants to create art and make money too.”
Manabu explains, “With collectors, if you can get them at any price the collectors don’t want it anymore. They want things that are difficult to get, so we have to control what goes into the market. However, it can’t be too numerous. If it’s too difficult to acquire, people will not purchase it, and that’s boring as well. There are also resellers who flip them online often for more than 10 times the cost and others who purchase the items to invest in – however, these people add value to the item as well in a way. Instead of selling it for a few years, like a madman the goal is long-term stability and control of the market.”
The tactic is said to make some consumers quite literally bonkers “Fans are extremely enthusiastic and excited, and we’re somewhat nervous. They could become angry when they can’t get what they want , and could be angry and come after us. The people who purchase stationery do not do this!”
It’s not too much to say that the fervor is somewhat religious.
Chiba claims, “The cultural background in Japan is a major influence on this particular culture due to animism. We are brought up to believe a lot of things have souls since the age of. Every thing has a god, so I think it is an era where it is easy to birth characters.”
Katsumata adds “Japan is considered to be a yaoyorozu [literally eight million gods, the Shinto belief that everything is gods] country, so there is the notion that if there’s a face, there is soul.”
It’s the final day of Expo at the end of this year’s Expo in Hong Kong and punters are departing with their new collection. While there is a lot that can be said about this trend in Japan it’s evident that the notion of having fun with toys is prevalent across different cultures. Chiba is in agreement. “When I go to conventions across the world, everyone is doing exactly the same thing: they take their toys, we sit together for dinner, and we snap photos together and say, that’s cute. Although it’s essentially adults playing with toys, that is what makes it fun!”
