Meet the man behind the Labubu madness: Hong Kong-born artist Kasing Lung

Beyond the creature’s endearing ugly-cute appearance, the craze for the toys is also partly due to the “blind box” method through which they are sold at Pop Mart. Mirroring Japan’s gacha, or toy capsule vending machines, buyers don’t know which version they have bought until they tear open the inconspicuous packaging. This sense of wonder is magnified by the ultra-rare “secret” Labubu that the package might contain.

Labubu isn’t Lung’s only creation; nor was she his first. The artist, who began his career as a book illustrator, first teamed up with How2work in 2011 to release a series of children’s story books and figurines. His first Chinese picture book, My Little Planet, which stars a little boy who is plagued by doubts about the world, was published in 2013. A year later, Lizzy Wil Dansen, a tale of rabbit who disguises herself as a cat to learn ballet, debuted in Belgium, a collaboration with renowned children’s writer Brigitte Minne. While Lung found success in the world of children’s book illustrations—he even made history as the first artist of Chinese heritage to take home Belgium’s prestigious Illustration Award—the true turning point was in 2015 when he published The Story of Puca, the first of three picture books in his now emblematic The Monsters Trilogy.

Labubu, who Lung describes as a group of kind-hearted spirits who unintentionally cause mischief, was the first character in his fantastical monster universe. He dreamt up a series of companions for her, including Zimomo, the leader of the Labubu elves; Tycoco, a vegetarian monster who looks like a skeleton; Spooky, a snowman that often appears in the moonlight; and Pato, a monster with mouse-like features. Lung followed The Story of Puca with Pato and the Girl (2016) and Miro’s Requiem (2017). “At the time, I really wanted to create a spirit world that belonged to me,” Lung says. “I infused the characters with elements that I found interesting—even playful and mischievous qualities—because I hoped they would all be energetic and spirited.”

To create The Monsters world, Lung looked to his upbringing in the Netherlands for inspiration. He left Hong Kong at the age of seven with his family and moved to a small village, where his parents ran a restaurant. While they were busy working, he would read about Nordic folklore, and started drawing his own characters based on the stories. He recounts being particularly interested in tales about clumsy trolls that lived in forests or underground, and says, even now, he is especially influenced by The Three Billy Goats Gruff, a classic tale about three goats who outwit a troll. “Although it’s a very typical folktale with the common, three-part, repetitive plot structure, the content is thought-provoking and was my motivation to create stories,” he says. He also credits the Belgian comic series The Smurfs with being the reason why The Monsters is such a large universe, filled with so many different personalities.

The names behind some of the characters, such as Zimomo, have a touching backstory: Lung’s daughter, who is nicknamed Yaya, came up with some of them; while a newer, devil-horned addition to the universe shares that pet name. “Having my daughter name the characters happened quite by chance, but the results turned out surprisingly well,” Lung said. He admits, though, that Labubu remains his number one. “[Humans] tend to follow rules and habits. That’s why I like Labubu, because she does things we normally wouldn’t dare to do,” he says. “Sometimes, I think we need to be a bit bolder. That’s why she continues to be my favourite creation.”

Since completing The Monsters Trilogy, Lung has taken a pause from his endeavours in children’s literature—primarily because of the flood of opportunities that came his way when his universe of magical characters took on a life of its own. “I hoped to rest for a while then continue to create Labubu picture book stories,” he says, “ but because so many toy exhibitions [wanted me to attend], I had to focus more time on toy design and creation. Plus, being invited by galleries around the world to hold solo exhibitions meant the picture book kept being postponed.”

Despite the world clamouring for his attention, Lung has managed to make time to work on another form of creative expression: painting. His works, which often feature unfettered brush strokes, bold words that pay tribute to song titles and, of course, his cherished monsters, are some of his most intimate creations yet. “I really enjoy the painting process, which is quite different from toy product design and picture book illustration,” he says. “Painting is more personal; I can put my emotions and feelings into it.” And as with his collectible figurines, Lung’s paintings are proving popular and financially successful—Excited Plastic (2021), for example, sold at Christie’s Hong Kong for US$100,400 in March, a 50 per cent increase over his previous auction record.

Pouring himself into a new artistic medium has also connected Lung to like-minded creatives. Specifically, he has found support in famed Japanese contemporary artist Takashi Murakami, who is similarly known for successfully commercialising his art. In fact, Lung held his first three solo exhibitions in Tokyo’s Hidari Zingaro and Kaikai Kiki Gallery, two galleries run by Murakami’s company Kaikai Kiki. “Over the years, Takashi Murakami has given me tremendous creative freedom,” Lung says. “Every time I exhibit at his gallery, he shows me incredible trust, allowing me to create freely without pressure. This is really important—I’m very grateful for his continued support and encouragement.”

After successive solo exhibitions in Tokyo, Lung surprised his hometown fans with Everybody Knows, his first independent showcase in Hong Kong. In March 2024, The Landmark Atrium exhibited 25 of his paintings across three immersive sections. As well as renditions of his unmistakable The Monsters characters the artworks tackled deeper themes, such as climate change and human dependence on technology. The latter idea inspired Machine (2023), a vivid acrylic on canvas that depicts Yaya and Labubu against a chaotic background, the words “Untitled Machine” emblazoned in front of them. “These are all issues close to our daily lives,” Lung explains. “My paintings are quite personal, so it is important for me to put these everyday [concerns] into my artwork.”

Lung describes Everybody Knows as an “unforgettable and moving” experience: beyond being a return to his roots, its impact is amplified by the fact that he considers Hong Kong hugely influential. “What inspires me is Hong Kong’s vitality—the speed of its people and city. When I first returned to Hong Kong in 1997 to work, I had several mentors; their speed was something I hadn’t seen in my dozen years in the Netherlands. They work quickly, create rapidly and know how to adapt skillfully—I don’t see this elsewhere.”

The tributes to his Asian roots don’t take the form of pulling on stereotypical motifs like dragons; instead, what makes Lung’s art distinctly Hong Kong is his embrace of the city’s dynamic energy. Labubu’s mischievous grin and the frenetic nature of Lung’s contemporary paintings immediately come to mind. “This might sound rather abstract, but in my creative process, I always integrate a sense of rhythm,” Lung says. “And yet, it’s the element people notice the least.”

This year marks the tenth anniversary of The Monsters universe. To celebrate, Lung teased a new picture book on Instagram, with Labubu as the protagonist. While an official release date has yet to be announced, the artist gives Tatler a taste of what is in store. “The theme is time and friendship. If everyone likes Labubu, I believe they’ll love this work too,” he says.

Just as his creative practice and career have blossomed in the last decade, Lung believes Labubu’s character has also evolved. This deep connection between an artist and his art similarly feeds into the bespoke cover that he has created exclusively for Tatler. Titled Growing Up, the illustration uses colour blocking to reflect on the growth as well as trials and tribulations that Labubu has experienced through the years. “Because it is the tenth anniversary of The Monsters, I wanted this artwork to represent my growth from the first to tenth year,” Lung explains. “It stars Labubu because I feel she has grown up quite a bit—and my understanding of her has changed too.”

Before we let Lung get back to work, he shows us a collection of old sketches. Depicting his monsters in nothing more than ballpoint pen, the artist lights up as he looks back over these stripped-back figments of his imagination. What especially delights us, however, is how these early renditions are as dynamic as the manicured versions that surround Lung today at the How2work studio. His evident self-belief and unwavering vision—a rarity in a world bound by rules and opinions—is echoed by his advice to other Asian creatives who hope to make an international impact: “Do things that others haven’t done before—try to make breakthroughs beyond established frameworks,” he says. “If you are loyal to creation, you should be true to yourself.”

NOW READ 

Beyond Ginger Flower and silk dreams: Inside Shanghai Tang’s evolving vision as a lifestyle brand

Performance artist Tehching Hsieh staged performances that ranged from one to 13 years. Here’s why.

Renowned Hong Kong author, food critic and TV personality Chua Lam dies at age 83

Creative Direction: Zoe Yau

Photographer: Kiu Ka Yee

Photography Assistant: Ivan Wong

Production Assistant: Carlos Hui