In the UK, IP character designers often work closely with animation studios, game companies, and licensing firms, emphasizing narrative, originality, and global market appeal. The UK value’s distinct visual identity and often merges character design with transmedia strategies. Vinyl toy culture is more niche, rooted in independent art toy creators and collectible markets like DesignerCon or ToyCon UK.
In contrast, China’s designer toy industry is experiencing rapid growth. The market size of China’s designer toys is expected to exceed 110 billion RMB in 2026, nearly doubling from around 60 billion RMB in 2023. POP MART alone achieved a revenue of 13.04 billion RMB in 2024, reflecting a year-on-year increase of 106.9%. Design trends are often shaped by consumer data, with younger consumers driving demand for personalised and stylised collectibles.
Considering my future, I’ve weighed both the UK and China in terms of work opportunities, environment, salary, and lifestyle. The UK offers a mature creative industry, strong IP protection, and a multicultural environment, but work visas and relatively high living costs are challenges. Salaries may be modest, especially in junior roles. China offers rapid industry growth, especially in the toy and tech sectors, competitive salaries, and proximity to family. However, the creative industry can be fast-paced and commercially driven, with less protection for individual creators.
Rather than choosing between them, I developed dual strategies:
- Plan A (UK focus): I will continue applying to studios such as Blue Zoo and Aardman, expand my professional network on LinkedIn, attend animation festivals like Annecy, and apply for a Graduate visa to gain local work experience. I will also seek opportunities to collaborate with indie toy designers or start self-initiated projects targeting the UK art toy market.
- Plan B (China focus): I will return to Shenzhen, attend local design expos, apply to companies like 52TOYS and POP MART, and leverage local platforms like BOSS Zhipin. I will also explore launching a personal vinyl toy brand, combining Western aesthetics with Eastern storytelling to appeal to a broader audience.
To support my research and planning, I’ve taken several steps. I have set up professional profiles on both LinkedIn and BOSS Zhipin, begun actively applying to companies in both countries, and reached out to industry professionals. Chris Colman, a British animator with China experience, told me that both countries offer outstanding studios and exciting opportunities. 3D animator Fung Michael Leung emphasized that working in the UK has allowed him to maintain a better work-life balance, which is something I deeply value.
Ultimately, I aim to make a final decision based on early job responses and visa conditions. By actively exploring both paths and building on what I’ve learned at UAL, I hope to position myself for a fulfilling international career in character design. A hybrid career might involve freelance collaborations, international licensing, and dual-market IP rollouts. My priority now is to stay adaptable while letting early job responses and legal conditions shape my final decision.
References:
- Xinhua (2025) ‘From designer toys to AI creations, Chinese toymakers go global with innovation, originality’, China Daily, 15 April. Available at: https://www.chinadaily.com.cn/a/202504/15/WS67fe0c3aa3104d9fd381f690.html (Accessed: 17 May 2025).
- PR Newswire (2024) ‘POP MART Releases 2024 Financials: Revenue Surpasses 13 Billion RMB, Net Profit Reaches New Peak’, 26 March. Available at: https://www.prnewswire.com/news-releases/pop-mart-releases-2024-financials-revenue-surpasses-13-billion-rmb-net-profit-reaches-new-peak-302412989.html (Accessed: 20 May 2025).
- ToyCon UK (2025) ToyCon UK – The UK’s Only Dedicated Designer Toy Convention. Available at: https://www.toyconuk.com (Accessed: 17 May 2025).