1. College Master in Fashion and Beauty Communication – Vogue
X edition - 2014-2015
Master Final Work
“K-pop and fashion in South Korea:
Influences in the current trends of the
world market”
Igor Frossard da Silva Rego
Madrid, September 14th of 2015
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Summary
Introduction .....................................................................................................................3
The Consumer Economy in South Korea .....................................................................4
Korea’s Fashion History .................................................................................................6
Korean Wave ..................................................................................................................17
Idol Factory: The K-pop Industry ..............................................................................19
Style and K-pop: How Styling Works in the Industry...............................................22
K-Mart: K-pop Idols as Selling Machines...................................................................24
Conclusion .....................................................................................................................27
Bibliography ..................................................................................................................28
Annexes ..........................................................................................................................31
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1. Introduction
A country’s fashion and musical culture walks together everywhere in the world: our
idols on magazines covers, fashion and beauty websites, influencing style along with
models and international runways.
This work analyzes through researches in different media, the singularity of k-pop
relationship with Korean fashion, analyzing as well its influence on global market.
First, we consider the consumer’s aspects in a modern and relatively new society in the
capitalist consumer market. Then we analyze the socio-political history allied with
Korean fashion history, so we can get to a conclusion of several exclusive aspects of
Korean culture that should be considered to analyze the Korean Wave phenomena.
The Korean Wave also goes through an analysis in this work, explaining how k-pop
have helped the movement to change to the “wave” status. Therefore, to support the
pride and the government investments in the country’s musical culture and its
exportation, this work explains how the k-pop industry work, based on economic data
and worldwide articles as well as Korean movies and TV series.
At last, this work comes to the moment of exposing how the Korean market is using the
k-pop idol’s influences to attract internal and external sales of countries like China, at
the same time that conquers western markets and how uses idols to enter the Asian
market. Also explains how is the current Korean market behavior, the new global
entertainment and fashion and how fashion relates with the “Korean Wave”. Exposing,
as well, facts of how Korean fashion market still finds difficulty in exporting its
different identities on a global scale.
This work proves that a popular culture pride constructed and developed with the
government’s help and local investment has created, first, a national pride, most of all of
the multimedia quality of the entertainment products and its idols, and then exports it as
a brand that has achieved the cool status all over the world.
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2. The Consumer Economy in South Korea
The Korean consuming history is relatively new if we compare to the European and
American countries. With a consumer population still immature, is essential to analyze
its history since the economic miracle and consuming habits influenced by the
government, to the recent opening to new markets and the electronic trade boom.
The “Miracle on the Han River” was the time of the economic miracle lived in the 60’s
Korea until the final 90’s, after wars and its division between north and south. Since
then, the country has passed from agrarian poverty to a major global economic
powerhouse through government measures that has forced the chaebols, Korean term to
designate the leaders of major companies, to restructure their companies, besides
government incentive to the small industries.
One of the of the measures was the country’s incentive for consumption and product
investments on local industries, which has attracted more than 10 billion of dollars in
the middle of IMF crisis (that has started in 1997). For this patriotic consumption, the
government has extended the credit lines to giant amounts, which reflects until today on
the consumer and materialistic Korean society.
The incentive has also included the credit cards consumption, with tax exemption and
many advantages on the purchase. However, in 2003, with delinquency and bankruptcy
of people and companies, this consumption has stopped its spread. However, in 2010,
for example, each adult had approximately five different credit cards, and considering
the incomes of a middle-class family, the average credit card debt worth a staggering
155 percent of their available income.
Before, in 2009, the patriotic consumption has given its first signs of weaknesses, with
the iPhone launch by Apple to fight with the local Samsung. The last one had more
success in this battle, but Apple have had many sales in the country.
In the last three years, Korea has implanted a free market agreements series with more
than 50 countries. As a result, the Koreans now have more options to consume than ever,
and this brings new consequences to the South Korean market.
The Korean companies’ competitiveness and its products and prices brings a bigger idea
of conscious consumption of the country’s population. This emphasis on spending with
more efficiency has brought more consumers to outlet stores, for example. On the
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period of 2011-2012 the sales on those stores has grown 41%, as the sales growth on
department stores has stayed weak.
For sure, the consumption movement of the middle and lower class now are moving
towards buying on outlet stores and discounts more than on department stores. Another
important data is that Koreans make 68% of their shops on sales period, against 57% of
Americans on the USA.
Meanwhile the middle and lower class still feels the weight of credit debts and starts to
consume consciously, the richer spend more than ever. One of the leaders of department
stores in Korea has reported that the 1% top clients were responsible for 20% of the
sales in 2012.
The luxury market has grown fast on the latest years, headed by those riches heavy-
spenders. This fashionista elite has attracted big luxury companies such as LVMH,
Ferragamo and Chanel. However, even in the luxury market, many prefer a good
bargain, which has taken them to the online purchase phenomena of used luxury items –
for the least rich portion of this elite.
With the exponential growth of online consumption, the Koreans have discovered that
they can save a fortune buying on foreign websites. A few such as Amazon and its
Chinese version Taobao, are the preferred and there you can buy clothes, games and
electronics, included the “made in Korea” ones.
The value of direct purchase from abroad has doubled to 1.1 trillion of Won between
2011 and 2013. In 2014, the government has doubled the maximum value of products
that can be send free from taxes from USA, to 200 dollars, which encouraged further
buying abroad.
In front of these new specifications, the fashion market finds new challenges, both
Korean companies as global brands, now searches new forms and tools to conquer the
Korean consumer – Korea also finds challenge of conquer new and bigger spaces in
others Asian and western markets.
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3. The History of Korean Fashion
The DNA of Korean fashion is the mix of more than 5000 years of history with the
invasion of western fashion, through modern and westernization that has started in 1984
and has produced the cultural assimilation by South Korea. From Japanese colonization
times and the poor Korean economy at the same time, to the free trade of fabrics and
clothes from the American market, that has affected greatly the daily fashion of Korean
population. Since the 50’s, the fashion interest by Koreans starts to grow inside,
resulting in the first biggest native designers.
Since the 60’s and 80’s, the Korean fashion industry experiences a large-scale growth.
From the 90’s on, the made in Korea exploits foreign markets, moving forward with the
eastern fashion to the biggest runways of the world, being stronger in Paris. From the
latest years, the Korean fashion surfs the waves from the called “Korean Wave”,
showing off a fashion that mix traditional with modernity, as showed clearly in its
capital, Seoul. We cannot study the current Korean fashion without understanding its
history first, both the fashion, as its relationship with the singular political-socio-
economical history of the country.
1895 – 1920: Under the Gojong’s Hat
In 1895, the Joseon kingdom has achieved the independent status from China and the
Qing dynasty through the first sino-japanese war, with the victory, the Japanese won
more power over the new Korean monarchy. The Joseon King, Gojong, influenced by
the Japanese and the sanitary conveniences and comfort for activities has started to use
his long hair in a man bun, cutting one of the first traditions of Korean royalty. In 1896,
still at war, Gojong went to live with his son in the Russian embassy in Seoul, from
where he governed the country, and returned to the city one year later, in 1897. After a
Japanese officer murder his wife, the pro-Japan politics were rejected by the
government, making it pro-Russia and USA, which means pro-western. In the same
year, Gojong has declared the foundation of the Korean Empire, where one of the main
politics was the country’s westernization.
In 1990, Gojong has changed the traditional gwanbok for a western suit, copying the
uniform of British aristocrats. During ceremonies, those suits also changed the long
smocks to coats and suits with tails. What caused a huge buzz in fashion that time was
when Gojong appeared with a hat made of silk, over the hair bun. Besides the
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previously resistances to the westernization, the hat was quickly adopted by all men in
the noble classes.
Meanwhile, the women had started to receive education in special centers created by
Christian missionaries and soon had their style influenced by the western. Long sleeves
and inflated shoulders, long skirts and hair style as the “Gibson Girl”. In addition, some
women started to use gloves and holding umbrellas as a sign of etiquette and education.
To complete the “Gibson Girl” look, girls were using a flower hat just like the ones used
by actress and singer Lily Elsie, an icon of western fashion.
In 1910, Japan and Korea have signed a treaty, which transformed the Korean Empire in
a protectorate of the Japanese Empire. This last one was an empire highly influenced by
western, and as such, the military, the nurses, the police and all uniforms were adopted
as the Japanese, a society that already had been westernized. The female school
uniforms was changed for jeogori (a typical jacket) worn with a blue or black skirt at
the heel height, already attracting the attention for the draping technique. However, one
of the more iconic uniforms that still influences the Korean culture was from the female
university of Sookmyung and consisted in a western uniform: a twill made purple short
dress with high neck (called yangjang), heels and a pink hat.
1920 - 30’s: Girl Power in Fashion
During the several student movements for Korea’s independence, there was a conflict
between the new and old generation, which has enlarged the Confucian education for
the new generation. At the same time, a big arsenal of new schools and educational
institutes appeared, and among them, modeling and sewing schools, founded by women
organizations.
Meanwhile, in Western countries, the flapper fashion had reached its success, and it was
not different in Korea, where it had a soft impact in local fashion. At that time, the “new
women” started to use the bob hair, exercising the fashion and the clothes as an object
for gender equality.
In 1930, beside the “yangjang”, the students adopted the sailor-like uniforms, which
today we know as one of the symbols of female Japanese students. In 1937, was
introduced the first westernized wedding dress and in 1938, technical courses and a
sewing institute were founded by international entities in Korea.
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1940: The War and the Smuggling
In 1939, the World War II starts and along with it, the fashion changes the streets to
match the dark mood of the current events. The female Koreans used to wear a simple
suit or a piece that they called momppe. The simple suit was like the nurse coats with a
small pocket on each side and a belt on the waist. The momppe were large pants that
served as a work uniform along combined with a shirt or a jacket. The bajitong (baji
means pants in Korean and tong imitates the sound of the English term “top”) was a
one-piece that consisted in a comfortable pants, long and baggy used with a simple shirt.
In 1945, with the end of the war and the freedom of Korea by the Americans, that had
expelled the Japanese for good, brought back the military style in suits and jackets made
of cotton with heavy shoulder pads. Nevertheless, in this time people had to maintain a
simple clothing style, like a skirt of poor quality made with few fabric worn with a very
simple cotton shirt. With the territory liberation, the women could use cosmetics and
curly hair again, which was fashionable at the time.
While China, Japan and Korea were at war, Macao, an Asian territory under the
Portuguese colonization, remained neutral, attracting a large contingent of immigrants
that had drastically reduced Macao’s resources. Coming from there, it started to appear
in Korea some well-dressed men in western way with suits that brought a new
modelling with large jackets and baggy pants, which became well known in Korea as
the Macao Style. Macao was one of the biggest distribution channels of British suits at
the time, and everything that entered Korea was by smuggling.
In the late 40’s, Korea was drowning in the smuggling culture trying to look for an
alternative and a new phase. In 1950, the Korean War begins.
1950: The Korean War and the American Influence
The 50’s were not easy to Korea. The war has decimated the population in most of the
country until the year of 1953 with the cease-fire of military forces. After that, the ones
who migrated to Busan, one of the cities that suffered less with the attacks, returned
massively to Seoul.
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In December of 1954, Choi Kung Ja has opened one store in the famous neighborhood
of Myeong-Dong and at its side, an institute that carried his name, and the first to teach
fashion in the country. Her company was responsible for dressing the most popular and
successful actresses at the time, which were his advertising. To this day, the
neighborhood is a fashion reference. In addition, the immigrants of North Korea have
established a market in Dongdaemun called Pyunghwa market, which in 1955 was
responsible for 60% of the country clothing production.
The 50’s in Korea saw the Hollywood ascension through movies with actress Audrey
Hepburn, the first fashion articles on the female magazine Yeowon, electronic devices to
curly the hair, bathing suits and the sending of the first Korean candidate to Miss
Universe, in 1959. On this occasion, the candidate’s dress was a mix of the traditional
Korean dress hanbok with a western twist, paving the way for new Korean designers to
America and from Hollywood to Korea.
Those are facts that were mainly responsible for the fashion westernization in Korea
during those years, while for the first time was used the word designer there.
1960: 디자이너 (Designer)
The 60’s marked another war: on one side the government that was asking for a simple
way to dress, using the wool as main fabric, because of its practicality. On the other side,
the biggest army, the beatlemaniacs and the Courrèges and Mary Quant followers. This
last one has won the battle and Korea entered in the Swinging Sixties era.
Men wearing long hair and women in miniskirts with the majority on the streets of
Seoul. The magazine Uisang (clothes in Korean) was the first magazine launched in
Korea, in the year of 1968, which brought on the cover one of the most successful
singers of the country wearing high boots and a miniskirt.
Before that, in 1961, was founded the Korean Fashion Designers Association which
sought to promote the competitiveness in the market and information exchanges
between designers. In 1962, the association launched its first designers contest and in
this same year, the first international fashion fair happened in the country. The fair has
taken the Gyeongbok palace, showing the typical and the fashion designs of 15 distinct
countries. For this occasion the host and designer Choi Kyung Ja presented a collection
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of dresses inspired by antique vases with Korean motives, mixing the new with the
traditional, the western with eastern.
1970: Power to the People
This decade was made of difficulties for the Korean economy. In 1973, the oil crises
saw a Korea decreasing its exponential growth, but soon, in 1978, the country was
exporting around 10 billions of dollars. The success of the big companies in other fields
made them turn to other markets, like fashion. Hwasin, Cheil, Kolon and LG were the
big companies that also invested in fashion as a way to expand their income.
The decade also marks an important new trend: designers such as the successful Choi
Kyun Ja ended up having less power and fashion started to being controlled by the
society, which, despite of just wearing the clothes, interpreted it, contextualized it and
made it fashionable.
The men’s fashion was the highlight with the huge variety of western suits and tailored
clothes. Colors, fabrics and shapes were in a way that, besides means of expression,
demonstrated a status in a time when Korea was getting ready for the great economic
miracle of the next decade.
The 70s brought the bell and the white pants, the wide lapels, the Vietnamese skirts and
the hot pants. While that new and exciting fashion came up, the conservative
government of Park Chung Hee had condemned the ascension of all customization and
idiosyncratic fashion. Meanwhile, the richer class, as a status symbol, were buying
leather and fur.
Of course, Korea also took part of the global Hippie movement. The War of its almost
neighbor Vietnam, also influenced the Korean clothing and attitude. The jeans were the
official garment against the conservative government.
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1980: Economic Miracle and Westernization
Despite Korea going through a military dictatorship, this decade proved to be a
landmark in the country’s fashion history. The school uniforms almost did not exist,
leaving the self-expression through fashion for each students. At the same time, by the
end of the dictatorship, in 1988, the liberation to travel the world the way they wanted.
The 70’s babies were now the main consumers and trendsetters.
The trend at the time was a simple combo of jeans, shirt and sneakers to go to school.
Meanwhile, many distinct jeans brands emerged, since it was from where people could
show status and personality: Underwood, Hunt and Levi’s were among the most popular
ones.
The dictatorship times were also time for tightening the international ties with Europe,
Japan, China and Russia. In 1979, international brand such as Yves Saint Laurent, Nike
and Adidas arrived along with a wave of counterfeiters that have grown along the 80’s.
That happened also because the 80’s were synonyms of status by brand, the name was
more important than the product itself.
The national market started to grow at the same time, creating a true battle between the
biggest clothing brands in the country: Nonno, Bando and Nassan. Their growth were
made possible by the hands of the female work power, which have grown exponentially
along with the years.
In the end of the decade there were two major world sports competitions landing in the
Korean capital: The Asian games in 1986 and the Olympics in 1988. Those events
brought with them typical sports brands to the consumer’s eyes and closets: Reebok,
Prospecs and Rapido.
“The color television also was becoming more popular, and spectators were paying
more attention to the foreign fashion. Terms like “unisex” and “coordination” entered
the fashion dictionary as more and more women were making part of the working class”
(Kim Hong Ki, 2012)
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1990: Cultural Revolution
In 1994, the Uruguay Round was signed and among the agreements, it was established
the WTO (world trade organization) that affected international relationships between the
participating countries, besides that it was included in the Round other commercial
policies that affected the Korean agriculture and the textile market. The agreement has
also brought luxury brands to Korea, such as Chanel, Louis Vuitton, Lacroix and others
that were responsible for a decrease in the national market.
Meanwhile, as shown also in the kdrama series “Reply 1994 and Reply 1997”, has
emerged a new phase for pop culture, close to what we know today as k-pop. “Seo Taiji
& the Boys” brought the rap and hip-hop culture to Korea, which talked directly to the
new generation and have, consequently, influenced fashion. It also emerged at the same
time, like in the most of the world, the grunge trend, with their torn jeans and plaid
shirts for men. For women, the Slim fit was the rule, with skinny pants, mini blouses and
miniskirts, which has returned triumphantly from the 60’s.
Another 60’s product was the strong return of the wholesale market Pyunghwa, located
in the Dongdaemun neighborhood. With a strong currency crisis at the end of the
decade, the 90’s have seen emerging from this market the ascension of shopping malls,
which had clothing markets transforming into multifunctional spaces, attracting the
youth target and then, the money, competing with the big department and luxury stores.
It is very important to highlight that the 80’s, with the traveling embargo being lifted by
the end of dictatorship, many young people were studying abroad. By the 90’s they
have returned with new ideas, techniques and distinct styles to become part of the
world fashion market from their Korea, locally teaching new designers, bringing new
visions to enrich their country’s fashion, mixing the traditional with modern.
The 80’s have seen the invasion of the Japanese fashion in European runways,
especially Paris: the origami of Issey Miyake and the originality of Rei Kawakubo’s
Comme des Garçons, among others, have conquered the heart of the western
fashionistas. Following the Japanese steps, in the 90’s Korea also invaded the French
capital with names like Lee Cinu, Lee Young Hee, Lie Sang Bong and Jin Tae-ok.
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“Nowadays, designers delved into experiments to unravel the essence of the Korean
lines. They have worked to reconfigure esthetic elements of Korean traditional wear and
then decanted it to their constituent lines: the rigor of the Confucianism elegance, the
geometric beauty of traditional patterns, the natural and unrestricted movement of the
human body, the voluptuous charm of indirect exposure, the way a silhouette
magnificently wide the female form.” (Kim Hong Ki, 2012)
2000 – 2010: The First “Korean Wave” and Cultural Patriotism
The 21st century meant to Korea almost the same as to the rest of the world, but always
with its singularities of means to express styles, especially when we study the previous
years and see how fashion has matured in this country.
Distinct styles and trends started to coexist in the streets of Korea: shapes and prints
have gained new colors, applications, pop culture references and to the exponential
growth of the country as potent nation. Among the strongest trends in the country the
romantic for women and urban for men were shining.
It is important to say that in Korea the women rarely shows the neckline, because for
them is considered vulgar, but they can show legs, which explains the massive adoption
of the romantic look.
The cultural patriotism has seen, in the mid-2000, a vertiginous growth until today. The
dramas, music and sports, all that started to influence the fashion in Korea.
The logos and brands started to be a thing to consider when buying clothes. The
originality and the influence of Korean designs reaches the limelight.
The next years until 2010, have followed the international success of k-pop bands like
TVQX, Super Junior, Brown Eyed Girls, 2ne1, Big Bang, Wonder Girls and many
others, and also movies like Old Boy and TV series like Winter Sonata and Boy Over
Flowers. With the Korean cultural success over the west, the K-fashion started to attract
their eyes and economic interest. The Korean lifestyle is now the central influence of all
national brands and the international ones start to focus on that style for selling their
products.
An important event was the evolution of the family management of major companies in
Korea, conglomerates that have dominated the fashion, electronic and heavy industries
since the end of the Korean War, as we saw above. The fashion divisions are now
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directed by a new generation of executives highly competitive, experienced and that
have studied abroad, including Chung Yoo-Kyung from Shinsegae, Lee Seo-Hyun from
Samsung and Lee Mee-Kyung from CJ Corporation.
2010 – Today: Joining the World Game
The new century has seen the Korean online stores, the music, movies and TV series
influencing western consumption. The YouTube has seen the Psy phenomena, the
movies has seen Old Boy, the television has seen My Love from Another Star, the
western has seen the Korean economy grow and the cultural patriotism influencing its
own way of making business in the whole Asian continent. The world starts to see the
power of the Korean Wave.
Today, Korea is the fourth economy of Asia, only behind China, Japan and India. Korea
is also the third place on the survey of “countries as brands” in Asia, behind Japan and
Singapore (Futurebrand’s 2014-2015 Country Brand Index). Despite of being a very
small country, the expenses with fashion and entertainment is one of the biggest of the
continent and one of those who keeps growing although it had a small break in the
economy.
As the past years of Korean history dictated, the fashion, entertainment, music
industries and the celebrities are mixed in one great lucrative cloud for the national
brands, and one big triumph for the economy – so much that its success reaches to other
Asian countries, especially those like China, which is the main target of every business
nowadays.
“We are very influential in the Chinese market, which is boosting the high-end market
in the world. The brands are glancing at Korean actors and singers, in order to attract the
Chinese consumers. The fashion brands based in Paris or Milan can now see the Korean
fashion industry as the entrance gate to the Chinese market.” – said the editor-in-chief
of the Korean GQ magazine, Lee Choong-Keol.
Last year, the luxury group LVMH has signed a 90 million dollars contract with YG,
one of the biggest entertainment companies of the Korea (owner of world-renowned
names as Psy, 2nel and Big Bang). In 2015, Chanel presented its cruise collection in
Seoul, which was, according to Chanel’s fashion president, Bruno Pavlovsky, besides
design inspiration, a commercial decision. “At first, as an inspiration [but] also has a
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business matter. South Korea is a fast-growth market, very interesting, that now is also
open to the Chinese and Japanese.”, said Bruno, confirming the words of Lee, besides
confirming that the country is one of the biggest players nowadays, because Chanel, in
the last years has presented its cruise collections in places like Dubai and Singapore.
According to “Euromonitor International” researches, the clothing and shoes market in
the country has grown from $23.5 billion to $27.8 billion dollars in the last five years.
During the same time, the size of the luxury market has popped from $2.7 billion to
$4.6 billion dollars.
These numbers brings profits to global and local brands, besides of the opportunity to
the local brands to gain international recognition.
The brand Juun J successfully took the catwalks of Paris, KYE of New York and Eudon
Choi and JS Lee of London, following the steps of Lie Sang Bong, Park Choonmoo and
Woo Young Mi generation, which took the western world in the 90’s. Other local
brands that have gained local recognition and now intend to win the western eyes are
PushBUTTON, Beyond Closet, LEYII and Resurrection. The last three were in Concept
Korea fashion show this year. Concept Korea is an initiative of Korean Ministry of
Culture, which since 2010 sponsors a space in New York Fashion Week to try to attract
the American market. Korean online brands also gained attention and consequently the
international shipping, mainly Wizwid.com and Wconcept.co.kr.
Park Seung-gun, creative director and CEO of pushBUTTON, which has not
participated of Concept Korea, thinks that to reach international success, the way is
exactly the opposite: “It isn’t good for the market to promote local designers as a
Korean representative group. In addition, stand and emphasize that they are “from
Korea”. It is never going to work. It has to be like Kenzo and Comme des Garçons,
which have converted successfully as fashion design brands and not as J-fashion brands.
First, you buy their things and later you discover that they are Japanese. This is the
correct approach for this industry; the incubation is the key for achievement.”
Rachel Lee from the Korean Times newspaper has talked to other designers that have
the same vision as Park: “Most of local and experts designers that I have known have
indicated a problem associated with the K-fashion neologism. What they have told me
was about the promotion of talented fashion designers as a group that represents the
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country, that this have neglected their identity and individuality, which means the end of
their work. I totally agree with them.”
That is it. The Korean government invests millions on fashion promotion of the country,
which looks like an exotic group that can justify the creativity and originality, but what
the big global brands wants is more and more of an own identity, but universal, because
fashion cannot carry a country, but a person, a taste, a personality: the designers’.
The Finance Minister said recently, in early September, that while the local
consumption is accelerating, the volatility in Chinese markets and the possible increase
to the Federal Reserve of the United States’ tax pose as “major risks” to the economy
and the consumer’s trust in the country. One of the results, as told by the minister, is
that the combined sales of department stores managed by Hyundai Department Store,
Lotte Shopping and Shinsegae Co have fallen 6,6% in august in comparison with last
year, following the world trend.
Looking inward, the independent brands, many of that which started with small stores in
the Dongdaemun market are the solution. The bigger department stores, that for a very
long time were considered as fashion brands sanctuaries already established, have
started to embrace independent brands that made their starts on the streets and online.
The stores are noticing that those brands have innovative plans and they are perfect
capable of answering quickly to the population demand for new designs. The traders
believe that they can provide a big advance for the income in the fashion sector, where
the growth has been large, and it works as an engine for the country’s future growth.
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4. Korean Wave
The term “Korean Wave” is commonly used to explain the dissemination of pop culture
and Korean entertainment all over the world, mainly through movies, TV series and
music (the k-pop). This wave is also known as “Hallyu”, term that was used for the first
time by a Chinese newspaper in the late 90’s to explain the influence of Korean pop
culture that was growing in the country. The term is a joke with Hollywood and the
name of the Korean language in Korean, Hangul.
The first wave has started in the beginning of 21st century, with the successfully
exportation of culture to neighbor countries like Japan, China and Taiwan.
In the middle of the 90’s, the Korean government asked to big companies that were
successful to start investing in the multimedia market to produce music, movies and
entertainment shows. After the 1997 crisis, the thriller movie Shiri was released,
resulting in a great success that has overcome the Titanic record on local movie theaters.
In 1998, the Japan’s cultural embargo over Korea started to fade. Fearing a successful
wave of Japanese entertainment products, the culture minister asked for a substantial
raise in his budget to foment the Korean cultural industry. That resulted in what we
know today as the “idols factory” in the big entertainment corporates.
In 1999, the K-dramas and the K-pop were already a fever in China. In 2000, the first
show of the band H.O.T. in Beijing has sold all the tickets. The wave was so big that
China’s government had to limit the exhibition of Korean TV shows there.
According to the Japanese Association of Record Industries, in 2002 the Korean singer
BoA sold more than a million copies of her album Listen to My Heart, becoming the
first Korean artist to have success in Japan. In the same year, the kdrama Winter Sonata
cam as one of the biggest successes until today in Korea and especially in Japan, in both
countries the clothes, suits and scarves of the main characters were a big trend at the
time.
Due to the popularity growth of these shows, the total amount of TV shows exportations
increased 27,4 times between 1995 and 2007, from $5.5 million in 1995 to $150.9
million dollars in 2007. Most of the Korean cultural products are consumed in Asia,
especially in Japan (57,4%), Taiwan (18,4%) and China and Hong Kong (8,9%).
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Since Gangnam Style in 2012, many k-pop acts have struggled to succeed in the
European and American market, but were not very successful on reaching the popular
taste. The hit of singer Psy is the most played in youtube history with more than 2
billion views.
Meanwhile, musical groups such as Super Junior, Shinee, Girl’s Generation, Big Bang
and 2nel were already performing big concerts, with other groups from the same
company, in Latin America, USA, France and other countries outside Asia.
The musical and TV series success were joined by the culinary popularization and other
elements from the Korean culture, such as fashion, known as the k-fashion.
Nowadays, for example, the west coast of USA and Japan welcome every year the
KCON, a Korean culture convention with concerts and the commercialization of many
kinds of k-pop merchandising.
The k-wave attracted the attention of the idols and their marketing possibilities by
inserting fashion in concerts, TV shows and series. Fashion editorials have welcomed
the presence of local idols and national and international brands’ ads have started to
focus on the idols, from local brands’ clothing to the luxury products of LVMH group.
The cultural patriotism created by a history full of political-socio-economic declines and
ascensions, combined with the growing and hyper-consumerist Korean market
continues to attract, more than ever, the international capital for the fashion segment and
the investments in local celebrities, instead of worldwide movie stars of the Hollywood
cinema.
19. 19
5. Idol Factory: The K-Pop Industry
This title of this chapter is not called “factory” as called by almost every media when
from a producer comes out innumerous successful artists. In this case, we are talking of
the formation of almost 60 distinct musical groups every year.
Everything starts, of course, with the children’s will of being famous, be it by
themselves or their parents. Since the 90’s with the “Korean wave” of culture and idols
in Asia, it is one of the ways elected by the Korean youth. According to a 2012 survey
made by the Korean Institute of Vocational Education, the profession of entertainer was
among the most liked by students, along with doctor and teacher.
Some current idols gone through the large process of auditions to become k-pop
machines, others were elected walking on the street by their unique and appealing
beauty to the Asian public and soon were trained in some discovered talent. The biggest
entertainment companies have offices in countries like USA, Canada, China and Japan.
The steps can be summarized in auditions, training, possible debut and the consolidated
fame. Everything can last from two to many years, depending on the evolution of the
members.
After discovering their own will to be an idol, have a talent and practice it, it’s time to
moving forward on the first step, that is to submit to many and many auditions from all
the distinct entertainment groups. Among thousands of people that shows up every year,
many are in their third or fifth year of trying to get the approval. The key is draw the
attention in some way.
There are professional schools for those who wants to try and there they teach dancing,
singing and everything they can to transform the children, with ages that vary from 11
to 18 years old, in prototypes of idols to achieve a spot in a big entertainment group.
The routine is quitting regular school and soon, unlike their friends that are going in
night studies, go to academies where they study until 10pm. Many at home still have to
do homework or continue to study the k-pop.
The second step, after get the “yes” from a company, is to sign a 2 to 4 years contract,
acknowledging the commitment of going through the hardships of daily training at the
company. However, that it is not the guarantee to the fame and glory, but it means just
20. 20
to get on the records that they are there at the company’s cost for maybe get the chance
to be an idol after some years.
The company’s training routine includes lessons of dancing, singing, English, Japanese
and Chinese languages, public speech, and theater. Also, playing instruments, going to
the gym, etiquette classes and other things, depending on the person or the company.
The whole daily process can last 15 hours, which explains why most of the trainees stop
going to the school or start in what they the call “international schools”, where they can
have many absences and continue the studies as they want.
The following step, in case their talent and effort are recognized beyond beauty, is
having the opportunity to debut on a stage as a group or solo artist. That is, of course,
also no guarantee that they are going to be famous and successful.
Jessica Jung, a former member of one of the most successful girl bands in Korea and in
the world, Girl’s Generation, was also discovered in the USA where she lived with her
parents and her sister Krystal, today a member of the successful k-pop band f(x). Jessica,
for example, was trained by the SM Entertainment company for seven years before she
had a chance to go on stage with her fellow members. These steps are a recurring theme
in TV series, such as Dream High 1 and Dream High 2, and even in movies.
The reality is that today in Korea, the idol title is worth as much as the one of a
professor or a doctor. The mother’s generation that wanted their kids to be respected
doctors and lawyers already accepts the today’s reality of their kids wanting to be idols
and they support and help them in some cases.
The k-pop industry income in 2012 (the Gangnam Style year) was approximately $326
millions of dollars, in comparison to the $100 millions of dollars in 2009, with most of
the profits from abroad, according to the NY Times.
The reality is that big entertainment companies in Korea are now looking abroad with
even more strength. The most successful k-pop groups have songs in English, Japanese
and Mandarin, expanding in billions of people their possible market. Some of those
groups have subunits with a few of their members, which sings in a foreign language.
The best, to hit even stronger, is that some members are Chinese, or Koreans that used
to live abroad in English native countries.
21. 21
Everything is highly controlled when it comes to the k-pop exportation. For instance,
some groups have videos in Chinese, Korean, Japanese version and some even in
English. Each version of the video changes, besides the concept, the time in front of the
cameras of the most popular member of each country, respecting also the beauty
concept that each country follows, in its great majority. The best example a 2012 video
of the “girl band” Girls’ Generation performing in the successful TV show “The Late
Show with David Letterman”, where they sang the English version of the hit “The
Boys”.
When we compare the members appearance on this video with the Korean version of
the video clip, we notice a bigger camera time for the korean-american members
(Jessica and Tiffany) and of the girls who fits better in the USA standard aesthetic
(Sooyoung and Yoona). Those last ones also appears on Kdramas that were successful
in American cities like LA.
Besides the chance of increasing the success outside Korea, the strategy that is used by
the companies on gathering groups with a large number of members is lower the market
risk in case of one or more of them decides to quit the group or they are expelled for
some reason.
The scandals on the news regarding contracts in an almost slavery regime with the
artists that comes from China are common. For example, until this day, legal battles
between former members of groups like EXO and the big companies are news in every
newspaper and specialized media, but nothing seems to affect the success, the profit and
the industry of k-pop.
Another example of how much the industry have grown without control and taken a
giant proportion is a new law approved in July of 2014 that limits the working hours of
the children in this industry: the young people until 15 years old can only work 35
weekly hours, while the others from 15 to 18 years old can work until 40 weekly hours.
Besides, everyone until 18 years old cannot work from 10pm to 6am, unless with
parent’s authorization. That is, the concerts and TV shows appearances should be before
this hour.
The law also targets the premature sensualization of the children until 18 years old: they
cannot wear revealing clothes that exposes too much of their bodies and the
choreographies cannot use sex appeal.
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6. Style and K-pop: How Styling Works in Industry
In a simple google search, we can find some of the websites fully dedicated to fashion
related to k-pop idols.
The websites often announce who wore what in a video clip, a variety TV show, an
event, an editorial and, in most of them; they have a part dedicated to the “airport
fashion”. The idols are constantly traveling between all over the Eastern Asia, which of
course leads to a frequent appearance in airports with new looks, hairs and accessories
that influences the entire Korean nation.
The so-called “comebacks” of each k-pop group, often happens one, two or even three
times a year and each one of those comebacks comes along with a new fashion concept.
Those concepts can or cannot be connected to the western fashion that we have known,
but always with the Asian twist, which means a fearless look to experience new styles
and pieces.
Each group has a stylist team that travels along with them and chooses the clothes that
are supposed to be used according to the previously established concept with the
entertainment company, besides respecting each idol opinion and their special concept.
Also is safe to say that each k-pop group have divisions between their members.
The term visual is used to describe the most beautiful of the boys or girls for the Asian
standard, or in some cases, they present a distinct and rare beauty, but still respecting
that standard. This member is who has more chances to appear on TV commercials or in
editorials and covers of magazines like Vogue Korea, Ceci, W and other editions,
besides that, more appearances in other events to stand for the group image or the one
that the entertainment companies like, such as innocent and traditional citizens. Also is
a recurring fact to have the visual member as the first to appear in a video clip or the
one who is always in the middle on group photos. On the time of styling, they are the
ones who wear the most elegant and fashionable clothing.
Then we have another term: face. That in some cases is the same person as the visual,
but they are the ones who appears more in TV shows or dramas, are capable of making
jokes, attracting the public attention to the group and to them. Those are the most
popular but not always the most beautiful. In style, they are always the most avant-
garde and fashionistas.
23. 23
Therefore, before forming a k-pop group, the CEO takes in consideration, beside the
talent of each one as rapper, main dancer, and main singer or just a person with a great
charisma, the goal of having each one of them in its place. A truly commercial industry
of talents and image.
We can notice that is essential to comprehend the k-pop industry, its origins and its
impact on the economy and in the life of an entire country to analyze the consumption
and understand how the fashion industry works in Korea, taking this phenomena in
consideration.
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7. K-Mart: K-pop Idols as Selling Machines
Netizen is the term used by the world to designate the internet citizens. The Korean
netizens are globally known as extreme, for the good and for the bad; they can destroy
the image of an actor or singer, or construct it in a matter of seconds. With the extreme
passion, also enters the market potential of an idol.
During the 2000 decade, the exports of Korean cultural contents revolved around
U$ 500 million. For the year of 2011, it had multiplied to more than U$ 4 billion,
according to the Information and Culture Service of Korea. By 2012, the Korean culture,
sports and tourism ministry have estimated the value of the economic assets of Hallyu
in U$ 83,2 billion, from which U$ 5,26 billion could be attributed to the music industry.
The numbers of the music industry and local fashion market, added to the extreme
passion of Korea for the k-pop groups, the fashion and entertainment, makes a perfect
combination to invest in singers or groups at the time to sell clothes.
Many websites often identify the clothes that those idols wear at the airport, concerts,
videos and variety TV shows. The brand insertions on those media is the most
successful way to go on this market.
In 2011, the girl band 2nel has made a collaboration with Adidas and to this day, they
continue to wear the clothes of the brand and those from Jeremy Scott (Adidas
collaborator that has his own brand). The girls from the group also often wear Chanel
and appear in the media with both Scott and Karl Lagerfeld, which means that is good
for both sides: wear the western fashion to the east and the Korean music to the west.
The presence of these same characters of Korean music industry also can now be seen
in fashion shows of big brands like Chanel, John Galliano, Balmain and Saint Laurent.
Also in 2011, Big Bang has collaborated with the Japanese company Uniqlo. 2PM has
launched an exclusively line with Benetton called “Clothes Album”, that when who
bought the clothes had the opportunity to download songs, being some of them
exclusive from a new album.
25. 25
Since then, in Asia, the designers and international brands also have placed their bet on
Korean celebrities to sell around the continent. Some examples from this year:
CL (2ne1) to Maybelline; Jessica Jung (former Girls’ Generation) to YSL Cosmetics;
Sooyoung (Girls’ Generation), Sulli (fx) and Minho (Shinee) are ambassadors and stars
in commercials for Coach; Sohee (ex-Wonder Girls) to Reebok; Girls’ Generation to
Dior Cosmetics and Hilfiger Denim; EXO to CK Jeans; Park Bo Ram to Clinique and
Taeyang (Big Bang) to CK One for a global ad.
The success is so big that brands that are not from fashion also invest on those talents,
as example: Dara (2ne1) to Coca-Cola, EXO-M to KFC China and J Park to the game
Candy Crush.
An interesting difference between western and eastern is that many times the male idols
are stars of ads that target the female public, as an example the boys from the band
Shinee that are the face from brands of female cosmetics and Siwon from Super Junior
is the face of a female bags campaigns. Not only for brands. For example, G-Dragon has
gone solo in a cover for the Korean Vogue in 2013 and with his band members (Big
Bang) in the same magazine from July of this year.
They also appear on magazine editorials as models or in advertorials paid by their
companies and that matches, of course, with the time for a comeback from the group or
some activity one of the members is performing over the Korean media.
Another recent example of the Korean market is the drop of one of the girls from Girl’s
Generation, Jessica Jung, to start her own clothing brand, called Blanc & Eclare.
In addition, to take advantage of the k-pop wave walking along with fashion, the
entertainment companies are beginning to use their names and idols to start their own
brands. We can mention the recent investments made by LVMH in the YG
Entertainment Company. In the same year of 2014, YG launched a clothing brand called
Nona9on (nonagon) in collaboration with Samsung Eland (the fashion company that
belongs to the electronic brand) under the name “Natural Nine”. And this is just the
beginning of these collaborations.
With the Korean wave and the country lifestyle expanding to other Asian territories, the
international brands are investing in Korean idols to reach the biggest market in the
world: the Chinese.
26. 26
The Chinese are historically appreciators of the Korean culture since the beginning of
the 21st century, which makes the natural destination at the time of buying or going on
vacations. The quality of Korean products are superior to the Chinese, which also
attracts these consumers’ trust.
This is not a completely unknown model for the Chinese buyer. In the 90’s the Japanese
wave of J-pop have attracted the Chinese consumer so strongly that until recently, the
preferred destiny of the Chinese, after Hong Kong, was Tokyo.
The Chinese tourists in 2013 turned out to be the top nationality visiting South Korea,
ahead of the Japanese, representing more than 35% of the total visitors. That also
represents fashion consumption. Lotte, the biggest chain of department stores in the
country, said in the end of May 2013 that the Chinese tourists’ expenses at their main
store in Seoul have grown around 60% from January 1 until May 20.
About the luxury market, around 70% of the tax-free sales in South Korea – and around
a third of total luxury sales in the country – are coming from the Chinese. Yes, the tax
over the imported items in China is very high, but along with Russia and Europe,
preferred shopping destinies of the Chinese, Korea has achieved a special place in the
mind and pockets of the Chinese consumers through a distinct reason: the k-pop. The
Korean wave part in this matter is to bring the cool factor.
The international brands are craving to be a good player in the Chinese competitive
market, so they are now looking at the idols that are the creators of this cool factor to
have a chance to sell and appeal to the Chinese costumer.
27. 27
8. Conclusion
The Korean history give us a vision of consumption and cultural construction of the
country, as well as its international relations and distinct influences into its lifestyle.
If the international economic liberty has been achieved recently, the culture and the k-
pop, Korean products fundamentally created by Korea’s government have been a local
answer to promote the cultural products consumption and the construction source of the
socio-cultural patriotism of this country. The Korea for the Koreans.
A country that has reinvented itself through its identity reconstruction by the big
investments in those cultural products, have done besides raising the pride of the nation
and its culture, the consumption of those products as one of the main factors to its
prosperity.
The idols that were constructed by the cultural economy are heroes. They are, for the
people, admirable and the pride of the nation that makes an economically prosperous
Korea with a good image abroad. They represent their own identity for the world and
themselves. The patriotism is so huge that if an idol escapes the obligatory military
service, the fans will assure that he will no longer be in the hearts or in the country’s
media. Moreover, this pride already established is allowing the cultural exportation to
the world.
On the international game, the government incentive and investments in the
entertainment companies and the cultural exportation have started the Korean Wave that
we watch landing today in western beaches with a great power and quality. This wave
have brought along the global consumption power and the eyes are turning to the
international relations with the country, as well as the brands’ eyes that want to reach
today’s biggest markets of the world. At the same time, the wave have permitted the
Korean brands and products to spread worldwide with pride, quality and the cool factor.
It’s this cool factor that Korea have achieved after years of investments and tries,
besides local consumption tests and the fast growth of its economy, that makes South
Korea to be a big influential and a powerful player of worldwide fashion market.
And, to enter in Korea and play in its influential market, it is fundamental to understand
the Korean wave and the cultural consumption, analyzing the country history, its people,
lifestyle and idols.
28. 28
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31. 31
10. Annexes
1. Korean Economy
Source: Bank of Korea
2.
Source: The Chosun.com
The Bank of Korea has attributed the cultural exportation boost to the growing
popularity of k-pop all over the world.
32. 32
3. Research volume for “k-pop” using Google
Source: Google Trends and Wikipedia.com
Subtitle:
Search volume for K-Pop from 2007 to 2012, according to Google. Keyword used was
"kpop". See also: Original source 1 - Super Junior and Girls' Generation release their
albums "Sorry Sorry" and "Gee", both a huge commercial success in East Asia (Jan -
Feb 2009) 2 - The Wonder Girls enter the American Billboard Hot 100 music charts
with their single "Nobody". (Oct 2009) 3 - SM Town holds its first concert outside the
Asian continent with its SMTown Live '10 World Tour in Los Angeles. (Sep 2010) 4 -
SM Town holds its first European concert in Paris, France. (Jun 2011) 5 - BIGBANG
clinches the 2011 MTV Europe Music Award for Best Worldwide Act. (Nov 2011) 6 -
BIGBANG becomes the first K-Pop idol group to debut on the Billboard 200 with their
album "Alive". (Mar 2012) 7 - PSY's Gangnam Style becomes the most "liked" video
on YouTube. (Sep 2012).
35. 35
CL (2ne1) for Maybelline Dara (2ne1) for Coca-Cola
Taeyang (Big Bang) for CK One Sunny y Sooyoung (Girls' Generation)
for Dior Cosmetics
6. Advertisment pieces starring k-pop idols:
36. 36
Kris (former EXO member and Chinese) as
the face of a milk Brand in China
Jessica Jung (former Girls' Generation) for
the chinese brand Li Ning
Shinee for a female cosmetic brand
37. 37
G-Dragon (Big Bang) on the cover of Vogue Korea,
August 2013.
Big Bang on the cover of Vogue Korea, July 2015
G-Dragon and Karl Lagerfeld on Paris Fashion Week, 2014.
7. Fashion Meets K-pop
38. 38
CL (2ne1) and Karl Lagerfeld in Paris, 2014
2ne1 launching their sneakers with Adidas and Jeremy Scott in 2012
CL with Jeremy Scott on the cover of Paper, 2015
39. 39
The airport fashion archive of the website kfashionista By clicking on a link, the post tells a brief story of the idol
picture and the brands he were wearing on the occasion,
offering links to e-stores and buying options.
Stage Style brings the same features of the airport style
Music Video Style, also with the same features
8. Websites specialized in founding the pieces of clothing worn by the idols
