Cute or clutter: The rise of Sonny angels and blind boxes

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That little naked baby is everywhere. The global success of the Sonny Angel, a smiling,

wide-eyed, 3 inch mini figure, is reflective of the collectible toy craze that's taken over GenZ.

Blind boxes, pre-packaged surprise toys, are practically all around; lined up on a shelf in

your favourite influencer's bedroom, peeking out over laptops and phone cases, and in

shops simply dedicated to selling them.

The responsibility for this relentless promotion of these trinkets is owed to the social media

content creators and algorithms. Haul videos and unboxings oversaturate TikTok, with the

‘#sonnyangel’ tag itself having over 532 million views.

But how could a toy be harmful? While one or two Sonny angels are not to blame for the

aesthetic overconsumption of these collectable toys, the purchase of these cuties en masse

creates negative consequences on consumers and the planet.

ModernGurlz, a social media brand that looks deeper into Gen Z pop culture and trends said on Youtube: “It’s just good fashioned over-consumption masquerading as a hobby.”

They added: “What we’re seeing unfold on social media with blind boxes is more hoarding

than collecting.”

The short dopamine rush of opening a blind box can create reliance on these little creatures, it can almost be likened to developing an addiction like gambling, as silly as it sounds. Consumers of these products, most commonly teens and young adult females, can fall into a relentless cycle of purchasing blind boxes over and over again, and suddenly one becomes two and two becomes twenty.

The impact of blind boxes runs deeper than a hit to consumers wallets. Each blind box,

whether it's a Sonny Angel, Smiski, or Mofusand, comes wrapped with a plethora of plastic

packaging, creating unnecessary waste.

Sonny Angels may look cute and innocent, but their charm fuels clutter, waste, and

overspending. Like any other trend, blind boxes will come and go, but their impact on people and the planet will be everlasting.

Edited by Abi Hall