CES 2026 and the move toward wearable robots you don’t wear all day.
Updated
January 13, 2026 10:56 AM
The π6 exoskeleton from VIGX. PHOTO: VIGX
CES 2026 highlighted how robotics is taking many different forms. VIGX, a wearable robotics company, used the event to introduce the π6, a portable exoskeleton robot designed to be carried and worn only when needed. Unveiled in Las Vegas, the device reflects a broader shift at CES toward robotics that move with people rather than staying fixed in industrial or clinical settings.
Exoskeletons have existed for years, most commonly in controlled environments such as factories, rehabilitation facilities and specialised research settings. In these contexts, they have tended to be large, fixed systems intended for long sessions of supervised use rather than something a person could deploy on their own.
Against that backdrop, the π6 explores a more personal and flexible approach to assistance. Instead of treating an exoskeleton as permanent equipment, it is designed to be something users carry with them and wear only when a task or situation calls for extra support.
The π6 weighs 1.9 kilograms and folds down to a size that fits into a bag. When worn, it sits around the waist and legs, providing mechanical assistance during activities such as walking, climbing or extended movement. Rather than altering how people move, the system adds controlled rotational force at key joints to reduce physical strain over time.
According to the company, the device delivers up to 800 watts of peak power and 16 Nm of rotational force. In practical terms, this means the system is designed to help users sustain effort for longer periods, especially during physically demanding activities_ by easing the body's load rather than pushing it beyond normal limits.
The π6 is designed to support users weighing between 45 kilograms and 120 kilograms and is intended for intermittent use. This reinforces its role as a wearable companion — something taken out when needed and set aside when not — rather than a device meant to be worn continuously.
Another aspect of the system is how it responds to different environments. Using onboard sensors and processing, the exoskeleton can detect changes such as slopes or uneven ground and adjust the level of assistance accordingly. This reduces the need for manual adjustments and helps maintain a consistent walking experience across varied terrain, with software fine-tuning how assistance is applied rather than directing movement itself.
The hardware design follows a similar logic. The power belt contains a detachable battery, allowing users to remove or swap it without handling the entire system. This keeps the wearable components lighter and makes the exoskeleton easier to transport. The battery can also be used as a general power source for small electronic devices, adding a layer of practicality beyond the exoskeleton’s core function.
VIGX frames its work around accessibility rather than industrial automation. “To empower ordinary people,” said founder Bob Yu, explaining why the company chose to focus on exoskeleton robotics. “VIGX is dedicated to expanding the physical limits of humans, enabling deeper outdoor adventures, making running and cycling easier and more enjoyable and allowing people to sustain their outdoor pursuits regardless of age.”
Placed within the wider context of CES, the π6 sits alongside a growing number of portable robots and wearable systems that prioritise convenience, mobility and personal use. By reducing the physical and practical barriers to wearing an exoskeleton, VIGX is testing whether assistive robotics can move beyond niche environments and into everyday life. If that experiment succeeds, wearable robots may become less about dramatic augmentation and more about quiet support — present when needed and easy to put away when not.
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Here’s the story of how a quirky toy transformed into a worldwide phenomenon.
Updated
January 8, 2026 6:35 PM
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Labubu vinyl figure displayed with surprise blind boxes in a store in Guayaquil, Ecuador. PHOTO: ADOBE STOCK
Trends move fast. One moment it's Dubai’s viral “Kunafa” chocolate bar, the next it’s Labubu—a mischievous-looking doll—racks up US$670 million in revenue this year, even outpacing Barbie and Hot Wheels. Celebrities like BLACKPINK’s Lisa and Dua Lipa have been spotted with Labubu dolls—whether as bag charms or in playful social posts.
For those unfamiliar, Labubu is the breakout character from the book series“The Monster” by Hong Kong-born, Belgium-based artist Kasing Lung. Alongside Labubu, the series features other quirky monsters like Zimomo, Mokoko and Tycoco—often grouped together as “Labubus”. These vinyl Labubu figures first entered the collectible scene in 2011 as “Monsters”, produced by Hong Kong-based production house How2Work. In 2019, Lung signed an exclusive licensing deal with Pop Mart, a Beijing-based toy collectible company, which further boosted the recognition and popularity of the franchise.
At first glance, Labubu might seem like just another fad. But the craze shows something deeper: in digital marketing, virality doesn’t happen by accident. It’s the result of timing, relatability and the rway global communities amplify trends.
So, what can marketers learn from the Labubu phenomenon? Let’s take a closer look.
Labubu’s unconventional aesthetics—a notorious grin, sharp teeth and wide eyes—break the traditional mold of “cute” toys. The social listening report from Meltwater, a media intelligence company reveals that from January to May 2025, mentions of “cute” outnumbered “ugly” nearly five to one. This “ugly-cute” look gave Labubu its identity and helped it stand out in a crowded market.
Marketing lesson: In a world of where everything blends together on endless feeds, uniqueness wins. Standing out with bold, even unconventional design choices can spark curiosity and desire. By leaning into what makes a product different, brands create instant recognition and give people something worth talking about.
Labubu’s surge in popularity is deeply rooted in Pop Mart’s focus on building genuine relationships with its fans. The company encourages user-generated content— unboxings, fan art, influencer stories—that fueled Labubu’s spread online and build brand engagement. Fans weren’t just buying toys; they were becoming part of a community that celebrated each new design.
Marketing lesson: Customers don’t want to feel like faceless buyers. They want to feel seen, heard and part of something bigger. By encouraging engagement and valuing contributions, brands can turn casual customers into loyal advocates who spread the word on their behalf.
While Pop Mart notes Labubu is most popular among women aged 18–30, its audience has broadened beyond that group. The design draws on influences from Nordic mythology and East Asian “kawaii” culture, making it feel both familiar and new to global audiences.
For Millennials and Gen Xers, Labubu also sparks nostalgia for toy crazes like Tickle Me Elmo and Beanie Babies that once lit up childhoods before fading away. Together, these layers of cultural resonance and cross-generational charm give Labubu an unusually broad reach.
Marketing lessons: Relatability is a powerful driver of virality. When a product can connect across generations and cultures, it expands far beyond a niche fan base. Brands that blend familiarity with novelty can build bridges to much larger audiences.
Labubu’s blind box model makes buying feel like a game. The thrill of not knowing which design you’d unwrap made collecting Labubus fun. It also turns buying into an emotional experience rather than a rational choice, fueling the urge to complete entire collections.
Besides, the suspense itself became content—millions watched unboxing videos to share in the excitement. Even BLACKPINK’s Lisa admitted she began with “only three to four” Labubus but soon wanted “a whole box” of the latest collection.
Marketing lesson: Mystery creates excitement, and excitement drives repeat purchases. By adding an element of surprise, brands can make the buying experience feels less like a transaction and more like a story unfolding. That thrill keeps customers coming back and makes the product easy to share online.
Pop Mart releases Labubus in limited drops, often tied to holidays or cultural events. Some editions include ultra-rare “chase” figures—appearing only once in every 144 boxes—creating a strong sense of urgency and fear-of-missing out (FOMO) among buyers. This strategy fuels a booming resale market, where regular figures retailing at US$25 can sell for US$200–US$300, and rare editions have even fetched prices up to US$150,000.
Marketing lessons: Scarcity isn’t just about limiting supply—it’s about building anticipation. By tying releases to events and sprinkling in rare editions, brands keep fans watching for the next drop. This combination of urgency and exclusivity transforms ordinary products into must-have collectibles.
Labubu has expanded its reach through creative brand collaborations. For instance, the Labubu x Coca-Cola series features figures in iconic red-and-white themes, while a Vans Old Skool drop merged streetwear in the clothing brand’s notable checkerboard pattern with collectibles. The One Piece collaboration blended Labubu’s quirky style with beloved anime heroes, appealing to fans of both worlds.
Marketing takeaway: Collaborations breathe fresh life into a brand and open doors to new audiences. Partnering with well-known names adds cultural weight and collectible value, while keeping the brand relevant in different communities. Done right, collaborations turn niche products into mainstream sensations.
Labubu’s phenomenal success is more than a passing craze. It’s proof that bold design, authentic community building, clever scarcity and cultural collaborations can transform a quirky idea into a global movement.
For marketers, the takeaway is simple: don’t just chase trends—create something real and let your community shape the story with you. Be bold, stay authentic and bring your fans along for the ride. That’s how brands move from fleeting hype to lasting cultural icons.