thesis statement about kpop uses colorful fashion

• Love Our Articles?
• Celebrities and Public Figures
• Gender and Sexuality
• Race and Ethnicity
• TV and Movies
• User-Created Content
• The Culture

The influence of K-pop in fashion

Very excited to host this piece on K-pop’s global fashion influence written by Colombian blogger and college student Guillermo Forero. This piece was originally published in Spanish on his blog Motica.co  and he graciously translated it into English. ATC is proud of and grateful for his work.

I was impressed with how wide and thoughtful Guillermo’s social scope was in his Motica articles on various fashion-related topics. Hopefully, this isn’t the last time this wonderful writer appears on ATC.

Without further ado, dive in!

A couple of months ago I was walking in Mexico City in search of the famous Zócalo while enjoying the architecture of the place we were passing through: the Museum of Tolerance.

I remember meeting up  with   my girlfriend and a friend when heads full of color suddenly appeared, moving to the sound of songs in a language I didn’t know. After spending some time watching their movements as we walked, I realized these were the “K-popers” my girlfriend told me about, devoted fans of the beloved Korean musical genre  K-pop.  The bond between K-popers seems to start and end with shared love for the music and artists rather than shared ideals or beliefs. But clearly it’s all they need to get together.   

Given my surprise at   Latin Americans dancing and dressing based on a culture as distant as Korean culture, I decided to ask myself a question: how much influence has K-pop had on the West?

In addition to that question, I began to ask whether the K-pop movement could be influencing other areas of life such as our fashion . After all, how can we not expect a worldwide phenomenon to influence what we wear when it even determines the colors we use or even motivates us to make use of signs  that identify us to a certain group?

The Korean wave or Hallyu

The Hallyu concept is  used to explain the expansion of Korean pop culture and entertainment to the rest of the world. This was done through television,  films —particularly K-dramas and K-horrors— and music, in which K-pop enters.

The term was first used by a Chinese newspaper in the late 1990s to explain the influence of Korean pop culture that was growing in the country. In its beginnings, the expansion went to nearby countries like Japan and China, but as my own experience indicates, it is already something we can find in cultures as distant as those found in Latin America.

On the other hand, there is one element that is as important or perhaps even more so than the quality of the productions themselves :  the state support received by the entertainment industry in South Korea.

In the late 1990s, the Minister of Culture asked the government for greater economic support in order to foster the growth of the Korean cultural industry, including the genre known as K-pop.  The quality of Korean production and K-pop works provided the perfect stage for its expansion around the world.

What is K-pop?

The influence of all these musical genres and resistance movements of the West modeled the change in traditional Korean dress and likewise, the beginning of K-pop itself.

Having understood how Korean culture has been expanding towards the West, it is time to focus on the musical side, K-pop.

The term K-pop refers to a group of musical genres that make up the well-known Korean pop. I catalogue K-pop as a mother genre   and not as a single genre because K-pop brings together diverse musical styles such as dance, R&B, and hip hop. In this way, it appeals to an audience with different musical tastes that are willing to appreciate the beauty of the show that sometimes opacifies the music.

K-pop groups— like some Asian designers —began to implement characteristic elements of more “daring” musical genres such as punk: a movement that would have great acceptance in 1980s Korean bands due to its proposal to go against the conservative. Garments worn for conservative looks would be replaced by extravagant accessories, miniskirts and longer hair.

Little by little the resistance movements against the conventional were strengthened until the group Seo Taiji and Boys reached the mainstream in 1990 . The group made their foreign cultural influences an intentional part of their presentation via the introduction of genres such as hip hop, rock and techno in their music. The appearance of this Korean group would mark the formal beginning of the current K-pop generation that, unlike the past versions of the genre, would count on Hallyu as the main propagation mechanism.

K-pop is so popular in the world that its artists, led by bands such as BTS, NCT, and BLACKPINK, represent more than 3.6 trillion dollars a year of the economy’s GDP . It has become a monster that affects several spheres of the economy. Bringing BTS back, a study from the Hyundai Research Institute found that this group is the reason one in thirteen people visited the country in 2017. Now, he adds groups like SHINee, Girls’ Generation and BIGBANG that for many years have been making Korea one of the world’s entertainment centers.

Influence of K-pop on fashion

Considering events like Hallyu and how important it has been in the expansion of K-pop around the world, let’s talk about the influence that K-pop has had on fashion. After all, K-pop has become the biggest fashion competition to Harajuku when it comes to Asian fashion stages.

If I must be rigorous about it, in terms of exposure, K-pop currently has more notoriety as a scene of fashion than Harajuku. If there is one thing I want to rescue with respect to the fashion promulgated by K-pop, it is its inclusive discourse that encourages personal expression. A discourse that, as we already know, had its beginnings in the rebellious Korean youth movements of the last century.

Thanks to the Korean wave and the growth of K-pop idols, the country was attracting global investors who would insert fashion in concerts and television series. To make matters worse, the same publishers and fashion brands have decided to localize their advertising efforts to capture this market niche and take advantage of the same hyper-consumerist characteristic of Koreans.

It’s not uncommon to see K-pop idols wearing extravagant outfits along with accessories and colors that support this look. From what I’ve been able to appreciate, all musicians have an insignia style that they show on stage, but also off it. Today, there are television programs and editorials devoted exclusively to airport fashion because of the frequency in which idols travel around Asia.

A place that many people attend in the most comfortable way possible ends up becoming a catwalk for the stars. That’s why these Korean artists are so important to the fashion industry. The exposure they can generate to their fashion pieces is not limited to the show but also to their day to day. It’s not unusual to see brands like Givenchy, Prada or Phillip Lim sponsoring these types of artists in order to penetrate the Korean market.

For this reason, K-pop idols wear carefully selected clothing by stylists when traveling in order to encourage the purchase of a style or brand. This group of stylists ends up being so important that they get travel with the idols. Due to the continuous changes of fashion concepts in the industry, the team of stylists work to balance the preferences of idols with shifting trends .

That previous detail seemed quite curious to me given the lack of autonomy that the artists seem to have within the Korean entertainment industry.  To be honest, the strict transformation process by which they are subjected means that machines are being made, not people. However, it is comforting to see that when they reach the “top” they may have a greater voice and opinion on issues such as clothing.

In any case, given the importance of the visual, aesthetic and eye-catching presentations and clothing, international brands have opened their doors to these artists. As a result, international brands have established themselves as more important sponsors of the entertainment sector than Korean designers themselves. By way of example, the BIGBANG group has managed to promote important world brands such as FILA, Uniqlo and The North Face.

Brand promotion is not limited to shows or airports. There are idols with greater recognition than others in both the world of K-pop and fashion who manage to win more individual sponsorship contracts. G-Dragon of BIGBANG and SeoHyun of Girls’ Generation are of this type of idols that in their moment represented Korea in events like the London Fashion Week or the Paris Fashion Week.

During these dates, the selection of garments was diverse. They wore popular Western brands such as Burberry , but also less recognized brands such as Junya Watanabe. All this promotion in order to attract the attention of both the fashion-loving people who follow K-pop, and that group of people who are closest to being called “obsessed with it.”

Conclusions

Hallyu is a phenomenon with a global impact that is increasingly being materialized in more corners of the world. One of its most successful methods both in terms of scope and profitability for the country has been the K-pop.

This genre, sub-genre or mother genre as we call it here, has managed to become a world reference of Korean culture and has curiously destroyed any language barrier imposed on the world between Korea and the West.

Personally, I am excited to see the presence of cultures with less textile tradition being part of this world of fashion.  Today, not only is K-pop influencing the way we dress and the music we listen to every day, but also Asian entertainment industries such as anime are increasingly entering these sectors.

After reading this, tell us: do you think your personal style or that of your acquaintances has been influenced by K-pop in any way?

[…] The influence of K-pop in fashion BTS Names The “Style Heroes” Who Influence Their Fashion And Their Lives […]

[…] concert style. This way they can show people outfits they can relate to a lot more. This article by Across the Culture could not have explained trends […]

Could you plz let me see this article it’s for a project I’m working on plz do get back to me

LEAVE A REPLY Cancel reply

Save my name, email, and website in this browser for the next time I comment.

Art & Photography

Film & tv, life & culture.

From Korea to the catwalk: how K-pop’s idols took over fashion

New book make break remix takes a deep dive into the cultural juggernaut’s impact on fashion and beyond.

As K-pop exploded over the past decade into a commercial music force equal to that of those in the west, so too has its power within fashion. 

Once known for its matchy-matchy, inoffensive costumes, K-pop’s biggest icons are now more aligned with coveted luxury houses and streetwear labels both on and off stage. Members of BLACKPINK , aespa, BTS , and EXO are global brand ambassadors for the likes of Givenchy , Celine , Gucci , Saint Laurent , and Dior , while NCT Dream's Jeno became the first K-pop star to open an NYFW show, as he took to the runway as part of Peter Do’s SS23 show in September.

All that is Korean has soared in popularity in recent years, with its culture celebrated across all four corners of the globe. But if K-pop and all its elements are a dizzying melting pot of influences drip-fed through pop, rock, electronica, R&B, and hip hop, then K-style, its overarching cultural parent, is an even more mind-boggling array of influences. 

According to writer Fiona Bae in her new book Make Break Remix: The Rise of K-style , this intimidating melee is born of South Korea’s tangled political, cultural, and financial histories. It is, however, often rendered frustratingly abstract by the practice of affixing a ‘K’ to its every export. K-style, says Bae, is an overused catchphrase for a vast array of creative disciplines, such as chefs, product designers, filmmakers, musicians, choreographers, fashion designers, architects, artists, and photographers, many of whom wrestle with this vague two syllable concept as defining what they do.

Bae’s subjects include designers BAJOWOO and the women-owned clothing brand MISCHIEF . “When I told them I was doing a book about K-style, they were like ‘What?’” recounts Bae, who was born and raised in South Korea, and now lives in London. “I explained I wasn’t trying to define K-style but chose them because I believe they’re doing something brave. K-style is such a contrast and a mix, so I wanted to show the eclecticism of Korean creatives. It’s like when people say ‘New York style’, people have an image of being aggressive and confident. So [in relation to K-style], let’s talk about young Koreans’ attitude.”

South Korea’s path to being a global financial player isn’t much older than some of the creatives interviewed. In its democratic infancy during the late 80s, South Korea would copy popular Japanese and American products to boost its commercial exports while, culturally, a “herd mentality dominated”. Indeed, K-pop’s earliest roots are in 90s groups like Seo Taiji & Boys, whose sound is indebted to American hip hop but tweaked to reflect their experiences as Koreans, a practice Bae calls a “remixing of culture”, which still informs and influences K-pop in 2022. 

This unique ability to “make, break, and remix” has birthed incredible talent via South Korea’s underground, and here, as Bae’s book gets its release, we sit down to discuss the past and present of South Korean culture, and the wild creative leaps made by a country that went from one of the world’s poorest to a giant of modern culture in just three short decades.

“I think most K-pop labels are very proud of the influence they have but the majority are driven by what will make them commercial successes. So rather than going more avant-garde, they will make a safe bet that will appeal to more people” – Fiona Bae

We should start with the power that is K-pop, whose visuals and styling have shifted dramatically over the past ten years. How has the changing culture in South Korea brought this about and, in turn, how are its idols changing the fashion landscape for Gen Z? 

Fiona Bae: G-Dragon (Big Bang) started that [change] when he became Chanel’s ambassador (in 2017) and Serian Heu (former Digital Director at Vogue Korea/current Visual Director at HYBE) talked to me about how K-pop stars are now appearing on covers even more than Hollywood actresses. Other people I’ve interviewed have said how K-pop stars are becoming more individualistic while in the past their looks were dominated by what their agency told them to wear. Increasingly, they make their own choices and some entertainment labels have realised they can’t continue churning out similar looks. People are looking for something different all the time. Increasingly independent choices made by artists have a huge impact on what Gen Z wear, not just in Korea but globally. It’s not just fashion, though. Tattooist Doy says 25 per cent Koreans now have tattoos, whether it’s the eyebrows or somewhere on the body, even though you need a medical licence to tattoo. Young people don’t care, they learn about tattoos from their idols and they think it’s cool.

How would you describe the relationship between idols and brands?

Fiona Bae: Commercially, it’s valuable. Artistically? I think a lot of stylists, agencies, even artists themselves, don these high fashion brands because they believe it elevates their status. By being recognised by these brands and becoming ambassadors, they’re very smartly using them. But some fans will also want to discover new brands from young designers [through idols] and I think there will be some gradual changes. Some are wearing them and even though the press might be a little lazy in discovering who they are, there are young Korean brands who totally sell out in the same way when it’s discovered they’re being worn by idols. 

Lia Kim, the founder of popular dance studio 1MILLION, says even now “K-pop is still centred around certain looks. Less than ten percent of artists have distinctive positioning”, and NCT’s stylist Kim Youngjin says he used to turn down working in K-pop because of the safe looks. He also made an interesting point about K-pop’s turnaround times being too fast to work with young designers. Because of K-pop’s enormous power and influence, should they be doing more for young or rising Korean fashion creatives? 

Fiona Bae: I think most K-pop labels are very proud of the influence they have but the majority are driven by what will make them commercial successes. So rather than going more avant-garde, they will make a safe bet that will appeal to more people. 

South Koreans still face overwhelming pressure to succeed, but only via an accepted path or through looking a certain way.  What’s your own experience of growing up in South Korea?

Fiona Bae: I was very lucky, while my parents were very conventional and wanted me to become a doctor or a lawyer, they never really stopped me from doing what I wanted to. Korea is very repressive and oppressive in those regards. And even K-pop is like that, it’s not like idols are told, ‘You’re an artist, express your character’. It’s like, ‘We’ll train you in this way and you’re going to do this. Lia Kim talks about how Korean culture is very authoritarian and that enables those young kids to be [taught to] just obey, which would never be possible in the US. As many in my book pointed out, for K-pop to have lasting success, it will have to diversify.

“ Social media is so democratic, and [young designers] don’t need that formal training, they can just absorb what they think is cool, they’re becoming more confident, and they think, ‘I can just teach myself’. It’s not mainstream yet but it’s happening more and more ” – Fiona Bae

Another point I took from ‘Make Break Remix: The Rise of K-style’ is how all these creatives either grew up in Seoul or moved there because they couldn’t be themselves in their hometowns. What’s currently happening in the rest of the country, creatively? 

Fiona Bae: There are efforts to move creativity outside of just Seoul. Recently, Busan, Daegu, and Jeju Island are really flourishing. Lee Kwangho (an artist and designer) wanted to explore more of real Korea because Seoul is too international, and he fell in love with Jeju Island and moved there. Jeju used to just be known as a nice resort but now it’s becoming artistically interesting with lots of museums and galleries. Things aren’t moving fast enough, even though everything generally moves so fast in Korea, but I think we’re seeing gradual changes. I don’t really believe in the role of the government [in creative industries] but there are some things they do quite well, like they’re building five museums in Sejong, which is where they moved the central government. They realised that to draw in young people, you need to make it a cultural hub. 

The Korean ability for speed in all that they do is lauded by your interviewees as a reason for the country’s rise in a short time, but also seen as detrimental because there’s no time to create depth. Without depth it becomes harder to create individual legacies. What’s your take on this?

Fiona Bae: Speed has been a driving factor in making Korean culture successful but it can break the whole society. It creates so much stress and competition, which isn’t healthy. But a lot of people I interviewed, they’ve discovered their own rhythm. They’ve realised that for them to create something really original, they can’t be driven only by external forces and they have to go with their own tempo. BAJOWOO has been criticised by many for not doing two collections per year but he says he just can’t, it takes so much energy to create, but he doesn’t care that it misses out on the norms of the fashion industry. That’s bold. A lot of artists in my book aren’t going for commercial success, and I really respect them. They’re not looking for what they think will bring them fame, they’re just doing it because it’s their passion and what they think is original. That genuine belief makes them stand out and gain a following. 

There’s always been a strong international Asian student body at Parsons School of Design or Central Saint Martins, but is there a seachange coming in fashion that will see more students learning on home turf?

Fiona Bae: Take PAF (Post Archive Faction), for example, which will be stocked globally in Dover Street Market this autumn. They’re one of our leading streetwear brands yet the founder never studied fashion or left Korea, but if you look at the brand, it looks so international. Lots of young people respect that, and they don’t care where you went to school or who you’ve worked for. Social media is so democratic, and [young designers] don’t need that formal training, they can just absorb what they think is cool, they’re becoming more confident, and they think, ‘I can just teach myself’. It’s not mainstream yet but it’s happening more and more.

Your book includes drag artist and YouTuber Nana Youngrong Kim, who noted being openly in drag made some of the LGBTQIA+ community angry because “they were afraid a loud gay like me might bring them harm”. If more creatives who buck social norms emerge and are open about their gender and sexuality, do you see a change against the still widespread homophobia?

Fiona Bae: I’m optimistic in that regard. (Tattooist) Doy was saying that for young people, if you’re seen as unjust and unfair on social media, it’s a taboo, and they try to educate themselves and drop the prejudice. So as long as there is enough information and some brave artists who are showing who they are, then there are positive signs. But at the same time, there are rising tensions between young men and women around feminism, and there are very worrying signs on social media where young people either love someone or loathe them, it’s very black and white, and it can be detrimental.

“ I remember when I was at university, if I was smoking on the street, old people would follow me and try to slap me! MISCHIEF and Lia Kim are really vocal about not following this image of women [created by] men and society, and I think women take comfort from them and want to join in ” – Fiona Bae

MISCHIEF’s two women founders/designers note that there are now more women in creative subcultures than men. Why is that?

Fiona Bae: They love the rebellious spirit. Women are told to be obedient and feminine and there’s certain expectations of women in the workplace. I remember when I was at university, if I was smoking on the street, old people would follow me and try to slap me! MISCHIEF and Lia Kim are really vocal about not following this image of women [created by] men and society, and I think women take comfort from them and want to join in. 

The word ‘subculture’ feels like an umbrella term, perhaps in the same way that ‘K-style’ is. Is subculture one thing in Korea or many?

Fiona Bae: I think it’s definitely many things - whether it’s hip hop, punk, Korean rock, Korean electro. But I think more than anything else, it’s an attitude. To go against the mainstream, to be more original and be rebellious against the cultural norm.

• SUPER JUNIOR
• GIRLS’ GENERATION
• KPOP ALBUMS
• KOREAN VARIETY SHOWS
• LATEST KPOP STORIES

latest posts

ITZY Announces October 2024 Comeback with ‘GOLD’ Track List

Stray Kids Confirmed for ‘Arcane’ Season 2 Soundtrack

Tiffany Young Injured During ‘Chicago’ Musical Performance

HYBE Addresses Min Hee Jin Injunction Request for Reinstatement

• ABOUT K-POP LIFE
• ADVERTISE WITH US
• Super Junior
• Girls’ Generation

The Unique Fashion Styles of K-Pop Groups: Exploring Eye-Catching Outfits of BTS, BLACKPINK

K-Pop, or Korean Pop, is a genre of music that has gained immense popularity in recent years, not just in South Korea but all over the world. K-Pop groups are known for their electrifying performances and captivating music, but they are equally renowned for their bold and eye-catching fashion styles. In this article, we will explore the unique fashion styles of K-Pop groups, with a focus on the bold and distinctive outfits of BTS , BLACKPINK , and others.

One of the standout features of K-Pop fashion is the use of bright and vibrant colors. From neon greens to hot pinks, K-Pop groups embrace the use of bold hues to create impactful and memorable outfits. BTS , for instance, is known for their use of vibrant colors, with their members often seen sporting brightly colored jackets, pants, and accessories.

Another key aspect of K-Pop fashion is the use of eclectic and eclectic styles. K-Pop groups often mix and match different elements, such as punk, hip-hop, and streetwear, to create unique and captivating looks. BLACKPINK , for example, often combines streetwear with high fashion to create looks that are both stylish and edgy.

Accessories are also a crucial element of K-Pop fashion. From chunky chains to oversized sunglasses, K-Pop groups use accessories to add a touch of personality and individuality to their outfits. BTS , for instance, is known for their love of statement accessories, with each member often sporting multiple pieces of jewelry and accessories at once.

Another hallmark of K-Pop fashion is the use of uniform-style outfits. Many K-Pop groups have a signature look that they adopt for performances and public appearances, which often includes matching outfits, similar hair and makeup, and coordinated dance moves. This creates a cohesive and united look that is unique to K-Pop and adds to the appeal of the genre.

In conclusion, the unique fashion styles of K-Pop groups are an integral part of the genre’s charm and appeal. From the bold and vibrant use of color to the eclectic mix of styles, K-Pop groups push the boundaries of fashion and create memorable and impactful looks. Whether it’s BTS , BLACKPINK , or other groups, K-Pop fashion is always bold, eye-catching, and unforgettable.

Featured Image: BTS Official Twitter

K-pop’s Most Iconic Albums: A Look at the Recordings That Defined the Genre

K-pop’s influence on beauty trends: from glass skin to k-beauty products, you might also like.

Seo In Guk Considering New Drama with BLACKPINK Jisoo

‘Gyeongseong Creature’ Season 2 Stills Introduce 2 New Characters

Stay connected.

Kpop Girl Groups: 5 Top-Tier Kpop Girl Group Concepts that Intrigued Fans

K-Pop’s Global Influence: How It Became a Cultural Phenomenon

The Rise, Fall, and Weird Future of MOMOLAND

A Day in the Life of a K-Pop Idol

Get even more.

The Rise of K-Pop Fashion—and What’s Behind It

What is behind the worldwide phenomenon of K-pop fashion? Why are people all over the world dressing like South Korean pop stars? To answer these questions, we need to take a closer look at K-pop and its unique blend of music, fashion, and culture. In this blog post, we will explore the origins of K-pop and discuss why it has become so popular in recent years. We will also examine the style trends that have emerged in K-pop fashion and look at some of the biggest names in the industry.

Why is K-pop so popular?

K-pop has become a global phenomenon because it offers something unique—a combination of catchy music, fun choreography, and stylish fashion. South Korean pop stars have mastered the art of creating dynamic music videos full of vibrant visuals and captivating dance performances. Their style choices have also been influential in setting trends around the world. This combination of music and fashion, coupled with the ever-growing popularity of social media, has helped K-pop become a global force to be reckoned with.

The history of K-pop

K-pop began in South Korea in the early 1990s, but it was not until the 2000s that it started to gain global attention. The genre is characterized by its catchy melodies, high-energy beats, and often iconic choreography.

Many K-pop stars also create a strong visual identity for themselves through their fashion choices. From bold colors and daring prints to sleek leather jackets, KPop Outfits have a distinct look that has been embraced by fans all over the world. They have proven that fashion can be an effective way of expressing themselves and connecting with their fans.

The influence of K-pop fashion

K-pop fashion has become increasingly influential in recent years, with fans around the world emulating their favorite idols' styles. The Korean wave (also known as Hallyu) has grown significantly in the past decade, with many K-pop stars becoming global ambassadors for South Korea. This has helped popularize Korean fashion trends around the world and has encouraged people to experiment with their own styles.

From accessories to clothing, K-pop fashion is now a major influence on young people’s wardrobe choices.

What does a typical K-pop look involve?

A typical K-pop look typically involves bright colors and bold prints, often in the form of matching outfits. Popular silhouettes include oversized t-shirts and jackets, skinny jeans, skirts, and shorts. Accessories such as hats, sunglasses, jewelry, and bags are also important components of the look. Of course, no K-pop look is complete without well-styled hair and makeup. And, if people are going to a K-pop concert, they might even decide to find K-Pop light sticks in order to really add to the atmosphere of the show.

While on one hand, K-pop stars have to maintain a certain image, the most successful ones also have their own unique style that sets them apart. These artists often start trends, pushing boundaries and making fashion statements with their outfits. From BTS’s streetwear-inspired looks to BLACKPINK's edgy aesthetic, these stars are always experimenting with new styles and inspiring fans around the world.

The biggest names in K-pop fashion

Some of the biggest names in the K-pop industry have become style icons in their own right. Groups like BTS, BLACKPINK, TWICE, and EXO have all made their mark with unique fashion choices. From bright neon to retro vibes, these stars have become trendsetters in their own right and have helped spread K-pop fashion around the world. When it comes to fashion, K-pop stars are always pushing the boundaries and setting new trends.

Not to forget, K-pop stars are also major influencers when it comes to beauty trends. From skincare and makeup products to hairstyles, these stars have been inspiring fans all over the world. You will notice that many K-pop stars have their own signature looks, which often become popular with fans. This could be anything from a particular hairstyle to an iconic makeup look.

What are the biggest influences on K-pop fashion?

K-pop fashion has been influenced by a number of different sources. From traditional Korean fashion to global streetwear trends, these artists have been able to create their own unique style that resonates with fans all over the world. As the genre continues to evolve and gain more mainstream attention, we can expect to see more creative and daring fashion choices from these stars.

Ultimately, K-pop stars are able to create their own style and influence the fashion industry in an unprecedented way.

How to create your own K-pop style

K-pop fashion is all about having fun and expressing yourself. If you’re looking to create your own K-pop style, start by taking inspiration from your favorite artists. Experiment with different colors and prints, but don't be afraid to step outside the box. Remember, there are no rules when it comes to fashion—so have fun and create something that’s uniquely you! With the right clothes, accessories, and confidence, you can pull off any K-pop look.

While K-pop fashion has been popular for years, it shows no signs of slowing down. As the genre continues to expand and spread around the world, K-pop stars will continue to be trendsetters and style icons. From colorful streetwear looks to edgy ensembles, K-pop artists have created a unique style that has become an iconic part of the genre. So, get ready to express yourself and create your own K-pop fashion look!

What to expect from K-pop fashion in the future

K-pop fashion is constantly evolving, and it's likely that we will see many more trends in the years to come. As the genre continues to gain global attention, expect to see even bolder and brighter looks from some of the biggest names in K-pop. The influence of these stars will continue to be felt in the fashion world, and with any luck, we may even see more collaborations between K-pop idols and global fashion brands. After all, anything is possible in the world of K-pop fashion!

The rise of K-pop fashion is evidence that fashion has the power to unite people around the world. By embracing different styles, we can connect with each other and create a more diverse and inclusive society. From Korean idols to everyday fans, everyone has the potential to express themselves through fashion. K-pop has become an important part of pop culture, and its influence will continue to shape fashion for years to come.

• Luxury Lifestyle
• Trending Now

Filter Posts

K-Pop Fashion From The Stage To Everyday Life: Trends Inspired By K-Pop Stars

Are you in need of a wardrobe overhaul? Or do you always feel like you have “nothing to wear” even though you have tons of clothes in your closet? Give your look a revamp by taking cues from K-pop fashion!

It’s no secret that Korean singers are admired for their singing and dancing skills, but many people also look up to them to gain insight into the next top trend to follow. Most of the outfits worn by boy and girl groups may be too fashion forward to wear in real life and are intended to be worn on stage, but the key is in moderation — just pick out some trends to incorporate in your daily wear, and don’t try them all at the same time.

From music videos, airport looks, live performances, and daily casual wear, K-pop idols always bring their A-game. Here are some ways to get that ultimate K-pop   star look:

Don’t be afraid of color

While minimalist and daily uniform styles make everyday dressing easier, adding some color can update and make your look brighter. It’s summer season in most countries, and there’s no better time than right now to give some sunshine to your style.

Stripes are nothing new, but K-pop stars always give it a spin by wearing them in rainbow colors like IU and Sulli .

 From a subtle tie-dye to a full-blown color explosion, KARD and BTS bring this ’90s fashion back to life.

Weki Meki is sporty and mismatched, yet somehow it still works! It suits their young, trendy image.

Wear your uniform

K-pop girl groups always seem to have at least one concept with tennis skirts and uniforms. Choose a cute cheerleader style like TWICE  or an elite private school student look like Jennie of  BLACKPINK .

Be pretty in pink

Speaking of color, pink in K-pop never seems to die down, whether it’s in men’s or women’s style. Who can blame them? It’s fun, flirty, and easy on the eyes. EXO members combined a sweet and nerdy look while Tiffany wore her pink in a classic and feminine style.

Go tropical

The sun is up and you’re dreaming of clear skies, a whiff of fresh air, and a cool dip in the sea. EXO’s “Ko Ko Bop” concept and MONSTA X ’s “Newton” bring summer right to your doorstep with colorful printed Hawaiian shirts.

Wear a statement jacket

The best way to finish off your K-pop-inspired look is by wearing a statement jacket to give your basics a little boost. Check out  Zico ’s and Sehun ’s cool outerwear that can be worn with practically everything. For girls, you can wear it with your trusty LBD or your casual white shirt and denim combo.

It’s your time to sparkle

For their 10th anniversary, Girls’ Generation couldn’t have picked a better trend to signify a big celebration: sequins and glitter. Like the statement jacket, you can wear one sparkly piece to mix and match with your basics.

Go all-black

If colors, loud prints, and shiny stuff aren’t exactly your thing, go the opposite route and wear all-black outfits. Take cues from strong  unnies  like Lee Hyori and Jessi who look fierce, sexy, and empowered in their dark looks.

Jay Park and iKON ’s Bobby are stylish men in black

You can never go wrong with denim

You probably have a staple denim piece in your closet. Bring them all out and wear the denim-on-denim style that K-pop stars love.

Left to right: Suzy , ASTRO ’s Cha Eun Woo (top), Got7 ’s Jinyoung , Lee Hyori

Rock that street style

Bring out your Supremes, Yeezys, and all other hip brand items to get that ultra-cool swag look like HyunA and Zico.

NCT ’s WinWin looks like a winner in this romantic suit mixed with touches of hip hop

Put your best foot forward

It’s all about the cool kids with cool kicks.

Left to right: Jessica , G-Dragon , Ahn So Hee

Coordinate with your squad

Call your squad for backup and coordinate your outfits to make maximum impact. Wanna One and BLACKPINK turn heads wherever they go.

Be spec-tacular

Whether they’re clear eyeglasses or cool shades, wearing eyewear is a must for K-pop stars. The more oversized, the better!

Left to right: WINNER’s Song Mino , Heize (top), BLACKPINK’s Jisoo , HyunA

Be subtle with makeup

Unless they’re performing a song that has a strong or fierce concept, female K-pop stars are often shown wearing subtle makeup looks. The latest look is Heize’s doll-like makeup, while Taeyeon ’s and Seulgi ’s barely-there makeup looks are great for day and night.

Be creative with your hairstyle

Whether it’s a buzz cut, blunt bangs, a side trim, or full-on bright color, K-pop hairstyles are always on point. The hair is their main glory and all the outfits come together when they top it off with a standout hairstyle that’s sure to become a trending topic.

Left to right: Lisa is known for her always changing hair colors, Irene has got blunt bangs (top), Hwasa  and Hyoyeon went for hip hop looks.

Left to right: Dean always has his signature James Dean hair, you’ll never know what G-Dragon will do next with his hair (top), Rap Monster always experiments with his hair color, and Kai recently sported surprising dreadlocks.

Be confident!

Last but not least, the most important accessory for your K-pop look is your beaming smile and confidence. Just be comfortable in your own skin and wear the looks you like no matter what people say.

Hey Soompiers, what are some of your fashion tips that were inspired by K-pop fashion? Let us know in the comments below!

DP_Kim is an English magazine writer and fashion fan whose goal in life is to wear heels and find the best OOTD locations while living in the farm outside of Jeonju, South Korea. Follow her Korean adventures here.

Similar Articles

To revisit this article, visit My Profile, then View saved stories .

A Beginner’s Guide to K-pop Fashion Stars

Magnetic, globally captivating, and undeniably cool are all ways I’d describe K-pop. Though I didn’t come to the genre all on my own—I have to credit my cousins for making me watch Netflix’s documentary Blackpink: Light Up the Sky —since discovering it, I’ve developed a profound respect for all aspects of K-pop: the music, the culture around it, and especially that incredible K-pop style. These days all eyes are on everyone’s favorite K-pop stars, which means all eyes are on what they wear and what they do.

Before we dig into the niceties of K-pop fashion, here’s a little primer on the genre for those who are not yet totally obsessed. As intersectional as it is influential, K-pop, short for Korean pop, unites all aspects of music, art, and dance, fusing inspiration from all over the world. This planet-spanning approach has earned K-pop an equivalently global fandom, with the United States just the latest nation to jump on the bandwagon.

The origins of K-pop go back to the 1950s, pop music’s first heyday. The South Korean music group the Kim Sisters are believed to have laid the foundations, singing renditions of American hits to GIs during the Korean War. Word quickly spread about the group in the US, and soon they were signed by American producer Tom Ball.

In later decades, Korea set up its own hit factory. The indigenous industry can be broken down into three generations, with the first emerging in the 1990s. Boy group Seo Taiji and Boys meshed Korean and American pop music with hip-hop-inspired dance choreography. The group also wore designs inspired by American fashion and street style, helping introduce South Korea to US aesthetics. They were pioneers of K-pop as we know it now. HOT, a boy group also popular in the ’90s, emulated the professionally trained skill, iconography, and style we see in the genre today. The band often rocked matching outfits, from head-to-toe leather to colorful oversized suits.

The first decade of the new millennium spawned the second generation of K-pop, composed of acts like Girls’ Generation, Apink, and TVXQ ( to name a few.) These groups too performed in matching stage outfits, but their style was relatively relaxed—a far cry from the grandeur and glitter K-pop is known for today. Second-gen group Wonder Girls, for example, sported street style clothes as seen in their “Tell Me” music video, and Girls’ Generation took to the stage in casual jean-tee combos, sporty sweatshirts, and skirts.

Today, the third generation of K-pop (2010 to present) reigns: Thanks to bands like BTS, Blackpink, and Twice, K-pop has entered its world-domination phase. Boy band BTS became the first K-pop group in history to be nominated for a Grammy in 2020, for their hit song “Dynamite” (which gained 12.6 million streams on Spotify on the first day of its release). Meanwhile, K-pop artists serve as global ambassadors to such luxury brands as Chanel, Fendi, and Loewe and launch new trends via their stage outfits and videos. Below, see some of the best looks from the biggest K-pop stars.

Blackpink made global headlines in 2019 after becoming the first all-female K-pop group to perform at Coachella. Its members sported black-and-silver stage outfits, with Lisa in a bejeweled halter-neck crop top and belted skirt and Jennie in a bandeau top, choker, and shorts with a glittery fringe skirt.

The group’s members are so renowned that they have served as ambassadors for many luxury brands: Lisa for Celine and Bulgari, Jennie for Chanel, Rosé for Yves Saint Laurent and Tiffany and Co., and Jisoo for Dior and Cartier. Rosé also became the first female K-pop icon to attend the Met Gala in 2021.

Before wooing the world and receiving a standing ovation for their performance at the 64th annual Grammys, BTS dazzled on the red carpet in head-to-toe Louis Vuitton. Member Jungkook posed in a yale blue set with a cropped band-collar jacket, baggy pants, and chunky black loafers.

In their “Dynamite” music video , BTS gave us their version of the best looks throughout the decades. Emulating ’90s heartthrobs, the band members rocked backward Kangol hats, oversized button-downs layered over white tees, and Canadian tuxedos while giving odes to Michael Jackson and ’NSync choreography. J-Hope sports one of the best looks of the video in ’70s-inspired head-to-toe Gucci: He wears a red leather button-down, jeans, and a black belt.

In 2019, Twice posed for the South Korean show M Countdown in a range of galaxy-themed metallics. Alternating between wide-leg pants and miniskirts, the group channeled an out-of-this-world look filled with glimmer and shine.

During their performance of the song “The Feels” on The Tonight Show Starring Jimmy Fallon, Twice wore fashionable versions of sports jerseys and knee-high lace-up shoes, with Dahyun standing out wearing a white high-neck minidress layered with glittery fringe.

Twice’s Nayeon debuted her solo career with “Pop!” in June. As she defined her own voice with the song, she also debuted her individual style in the music video. Never a wallflower, Nayeon favors pops of color, often wearing luxury brands and matching sets. In the video she rocks red-belted Prada jacquard mini shorts and a matching altered Champion top, as well as other major brands, like Louis Vuitton, Alexander McQueen, and Lirika Matoshi.

Solo artist and actor Lee Ji-eun, who goes by the stage name IU, has a sweet sense of style, exemplified by the off-the-shoulder gray gown she wore at the Cannes Film Festival in 2022.

Continuing to channel the schoolgirl-next-door look, IU wears an oversized cardigan with a crochet hat and a patterned pink dress layered over a white top in her “Strawberry Moon” music video . Similarly she wears a casual preppy look in her “Blueming” music video , with a purple knit cardigan layered over a white tee and beige trousers.

Always down to play with color, Momoland embraces each member’s individuality while sticking to a bright theme. For their performance at the 27th annual Dream Concert in South Korea, no two members looked the same, though the group wore all pastels.

Similarly in their “Yummy Yummy Love” music video , each member put their spin on a black-and-red theme. Group member Ahin wears a black halter top and black leather skirt with one side draped in red tulle, creating a half-dress look.

Another K-pop group that takes individual style to another level is Got7. At the 2018 Mnet Asian Music Awards, members displayed their take on red-carpet glam.

The opening scene of Got7’s “Nanana” music video also shows members flaunting individual dapper styles. Their looks range from yellow-orange ombré suits and patterned jacket-and-pants combos to brightly colored knit sweaters. BamBam was among the best dressed in a shredded pink tweed two-piece, complete with a cropped jacket, matching high-waist pants, and a simple black shirt underneath.

Boy band NCT 127 served nine shades of gray when promoting their fourth album, 2 Baddies , in 2022, making the case for in-sync dressing with their matching monochromatic ensembles—though it’s not the first time they’ve done so.

In the video for “Fact Check,” their most recent drop, members sport different iterations of all-white looks, with Yuta topping his baggy cargos with a cropped Moncler Genius vest. But NCT 127 doesn’t confine itself to coordinated styles, as proven by Johnny’s standout look: a semi-sheer mesh top from Charles Jeffrey Loverboy and a shimmery argyle suit atop.

Solo artist Chuu had her own break-the-internet moment when she was papped filming the music video for “Howl,” a song on her debut mini album. Carving out her own sound and style, the star stuck to a fairy-grunge aesthetic: a mix of fairycore and the well-known ‘90s style . My all-time favorite look from the video finds Chuu the ultimate Gen Z poster girl in Demonia platform boots and a Chopova Lowena tartan miniskirt .

This girl group has been churning out iconic looks since their 2014 debut. Just take the goth-tinged teaser imagery for their third album, Chill Kill , which earned Red Velvet the moniker concept queens from K-netizens.

And their music-video style is just as noteworthy. My personal highlights are Irene’s look in “Birthday,” pairing a brown baby tee and a camo miniskirt (both by Marc Jacobs Heaven), and Joy’s Vivienne Westwood corset top.

On the red carpet, these girls exemplify elegance—see the opulent black and white gowns they wore at this year’s Cannes Film Festival. But off the carpet? They have a Y2K aesthetic reminiscent of TLC’s “No Scrubs” or Britney Spears’s “Oops…I Did It Again.” In teasers for the album Drama , their style could be described as cybercore or futuristic Y2K. Nowadays, the aesthetic exhibited in these shoots would most likely be considered AI or metaverse adjacent, but I’ll call it what it is: iconic.

In their Kill Bill –style music video for the single “Drama,” the stars rock a collection of must-have pieces. Karina wears that viral Jean Paul Gaultier x Knwls pink fur-trimmed jacket, and Winter wears a logo-embossed long-sleeve bodysuit and spiral split-hem jeans—both Mugler.

Le Sserafim

Another girl group worth mentioning for their oh-so-fashionable taste: Le Sserafim. Apart from their color-coordinated stage looks, the stars make equally sensational statements with their online and street style. Their playful NBA Lakers look is a lesson in styling sportswear .

Le Sserafim makes another case for fashionable sportswear in their music video for “Perfect Night,” which dropped in collaboration with the video game Overwatch 2. As a fan of both the game and the fashion statements made in Le Sserafim’s music video, I’d say they nailed the brief, blending wearable real-life pieces (e.g., decorative ribbons and football jerseys rocked pantless ) with just as desirable in-game looks. K-pop is expanding its domination to the virtual world—and I’m not surprised!

More Great Fashion Stories from Vogue

Lily Collins Has Found a French-Girl Alternative to the Adidas Samba

Meghan Markle’s New Look Is Taking Shape for Spring

Angelina Jolie Will Wear This Pair of Shoes Anywhere—Even a Shopping Run

Katie Holmes’s Baggy Slip Dress Is a Lazy Girl’s Shortcut to Cool

Goodbye, Manolos! Sarah Jessica Parker’s Unlikely Summer Shoe Is a Clog

Rihanna Gives a ’90s Coat a Totally 2024 Feel

Sign up for Vogue Shopping to receive the insider’s guide to what to shop and how to wear it

Listen to The Run-Through with Vogue , a weekly podcast featuring the most exciting stories and hot takes from the worlds of culture, politics, sports and–of course–fashion

Never miss a Vogue moment and get unlimited digital access for just $2 $1 per month.

The Vogue Runway app has expanded! Update to the latest version to see all Vogue content, as well as new features like our Runway Genius quiz, Group Chats, and posts from Vogue contributors.

Vogue Daily

By signing up you agree to our User Agreement (including the class action waiver and arbitration provisions ), our Privacy Policy & Cookie Statement and to receive marketing and account-related emails from Vogue. You can unsubscribe at any time. This site is protected by reCAPTCHA and the Google Privacy Policy and Terms of Service apply.

K-Pop: Making a Statement Through Fashion

WRITTEN BY: John Vo

GRAPHIC DESIGNER: Jenifer Dao

COPY EDITOR: Madeline Liao

K-Pop has become a source of fiery debates over the years, with a good share of people questioning and outright dismissing its appeal. But if there’s one thing both fans and cynics can agree upon, K-Pop is anything but dull, especially when you observe the fashion.

K-Pop has cemented itself as a mainstay in the music industry, with its success attributed to artists like Girls Generation , BIGBANG , BTS and BLACKPINK . Starting as a subculture in Korea, the music genre slowly gained global prominence, thanks to the increasing use of online platforms like YouTube . With an emphasis on boy and girl groups, extravagant choreography, unique visuals and a distinctive sound, it’s no wonder people became enthralled. Different music styles such as pop, rock, R&B, electronic dance and hip-hop all influence the distinct sound of the genre.  The influences appeal to consumers by providing a vast array of artists and subgenres to listen to instead of being relegated to one type of sound. Korean pop culture began to take the world by storm – a phenomenon synonymously known as the Hallyu Wave . 

View this post on Instagram A post shared by DANHA (@maison.danha)

View this post on Instagram A post shared by TWICE 트와이스 (@twice_styles_)

This blend of influences in K-Pop’s sound is also apparent in its fashion. K-Pop has generated eclectic and unparalleled styles by fusing fashion trends from South Korea and other countries. Alongside K-Pop’s surge in success, this unique quality has led to K-Pop idols influencing the fashion world. Music has and always will play a role in setting and revitalizing fashion trends, and now K-Pop is making its mark in contemporary fashion in many ways.

Energetic stage performances and visually captivating music videos are a staple in K-Pop but it is the concepts used that give the genre its unique factor. A concept in K-Pop refers to the theme and essence of a specific song, embodied through elements like the song itself, the look of the music video, choreography and styling choices. Since most K-Pop groups tend to switch concepts every comeback – referring to when a group comes out with a new song and mini-album – there’s a plethora of diverse styles and niche aesthetics in the genre. Having a variety of concepts allows fans and casual listeners to decide what they gravitate towards. From cutesy and youthful to edgy and badass, from elegant to quirky, even retro or futuristic, these are just a few of the thousands of concepts explored over K-Pop’s long history. 

Stylists bring these concepts to life by pulling from high-end designer items and pieces from smaller brands. The overall goal of these stylists is to ensure the clothes compliment or sometimes juxtapose the concept and that the idols look great. However,  that has led to some divisive looks . No matter the concept, the outfits K-Pop artists wear on music videos, photoshoots and stage performances will always be memorable and alluring. 

Boring Jalapeños NCT DREAM The 1st Album 〖맛 (Hot Sauce)〗 ➫ 2021.05.10 (KST) #NCTDREAM #맛_HotSauce #NCTDREAM_맛_HotSauce pic.twitter.com/OIOqsty8Bt — NCT DREAM (@NCTsmtown_DREAM) April 28, 2021

If you waiting for more content from Aespa, now is already up! New Bag—GIVENCHY Photoshoot Behind The Scenes, watch it now at our channel! 📎 https://t.co/MDKqWuWm5t pic.twitter.com/zImjmRG6gF — ୨♡୧ (@ofHeekkie) June 9, 2021

As gorgeous as stage outfits are, they usually are chosen by stylists and music companies, and artists typically do not have a say in what they wear. It is off-stage that fans genuinely get an in-depth look into these idols’ fashion tastes. Whether K-Pop idols are dining at a restaurant, shopping or going on a relaxing walk, they are always wearing stylish clothes. 

Idols have even transformed the airport into a fashion runway, flaunting their latest casual wear. Fans revere the sheer amount of creativity and panache they put into their airport fashion and often garners attention from news outlets. Idols like BLACKPINK’s Jennie Kim, BTS’ Taehyung and J-Hope, and SEVENTEEN’s The8 are some of the countless idols who have been deemed fashion icons of this generation. Seeing idols in relaxed and casual attire reveals a more down-to-earth side to them and shows that they’re still people who desire to express themselves through clothing, just like the rest of us.

Following the influence and reach of K-Pop in mainstream media, global luxury companies and beauty houses realized associating with K-Pop could lead to viable success in the market. We’ve seen more and more K-Pop idols and groups appointed as brand ambassadors for household fashion names. Recent examples include aespa for Givenchy, BTS for Louis Vuitton and EXO’s Kai for Gucci . Even all the BLACKPINK members individually represent high-fashion brands.  

Not only that, idols are nowadays frequently spotted attending fashion week and similar events. Solo Artist CL and BLACKPINK’s Rosé made history in 2021 as the first two female K-Pop idols to attend the Met Gala. Having fashion houses finally make strides for inclusivity in marketing campaigns and branding by including Asian artists is incredibly empowering to many BIPOC youths., especially those who someday may become the next innovators and trendsetters in the fashion industry.

@lesyeji best-dressed 🧥 #kpopsupremacy #astro #hyuna #bts #blackpink #ateez #sandarapark #seventeen #foryou #fyp ♬ Eternally - TOMORROW X TOGETHER

View this post on Instagram A post shared by Louis Vuitton (@louisvuitton)

One cannot deny that K-Pop fashion encourages people to express themselves through clothing. Noted for breaking gender norms and experimenting with new colour and silhouette combinations, K-Pop establishes the idea that fashion is bold, fearless and extraordinary. It has inclined fans to create outfits using items from their closets that exude the essence of their favourite idols and concepts. To many fans, K-Pop is a gateway to cultivating their personal style and individuality. Seeing how quickly micro-trends and fads come and go, people embracing personal style through their interests is liberating and, honestly, the mindset needed for 2022.

With all the success and adoration for the genre, K-Pop isn’t going anywhere anytime soon–in music or fashion.

RELATED CONTENT

7 ultra-chic looks from the front row of Paris Fashion Week

Pat McGrath: The Most Influential Makeup Artist of our Era

The Keffiyeh: A Symbol of Resilience of the Palestinian People

THE BOOK 07 NOW AVAILABLE

Confronting the Tattoo’s Place in the Fashion Industry, Today and in History

Antwerp 6: Where Are They Now?

Re/flex: From Beneath The Surface

Same But Different: The Rise of Early 2010s Trends in 2022

Winter Trend Roundup: Timeless and Classic Pieces

Origins of Beauty: Hair Oiling

Rick Owens and His Influence on Young Adults and Their Fashion Journeys

Cruelty Free Cosmetics 101

WHY/Project: Experimenting With Avant-Garde

Redefining Fashion: Unisex As Said By Gen Z

Fashion and Film Cross Paths When It Comes To NANA

A Blueprint of Harajuku Style

Roll Call: StyleCircle’s Editorial Team’s Fashion Month Favourites

Origins of Beauty Trends: Gua Sha

Fashion Month Recap: Highlighting the Best Collections for the SS ’22 Season

The Fetishization of Eastern Cultures in Western Fashion

Gateway to the Secret Garden: An Interview with MACEL Studio

K-pop’s popularity is starting to shape fashion worldwide

Brands like Chrome Hearts and Moschino saw a spike in searches after K-pop stars wore them.

by Nadra Nittle

To understand how influential K-pop is worldwide , look no further than social media. The 26th birthday of Jin , the singer-songwriter of Korea’s pop supergroup BTS, was by far the top Twitter trend globally Monday, garnering more than a million tweets. The Melon Music Awards , which honor Korea’s most popular musical acts, took place Saturday, and they too dominated Twitter as fans of groups like BTS, Blackpink, Mamamoo, and iKon gushed about the show.

With roots in the 1990s, K-pop — a mix of pop, rap, electronica, and other genres with a South Korean twist — is affecting far more than social media trends and billboard charts. Fans of the music are taking up charitable causes , and according to the global fashion search engine Lyst , they are also wearing the same designers as their beloved K-pop idols. In its “ Year in Fashion ” report, which tracked more than 100 million searches from 80 million shoppers across the globe in 2018, Lyst identified K-pop stars as “major global fashion influencers.” It credits these performers with spiking searches related to brands like Moschino and Chrome Hearts after wearing them this year.

The omnipresence of K-pop fans on social media around the world is fueling the trend as well as the importance of visuals in the genre. Bright colors and bold prints are the norm when it comes to K-pop acts, who have made fads of the most mundane (and unexpected) pieces of clothing. A campaign T-shirt from Rev. Jesse Jackson’s failed 1988 presidential run became a must-have in South Korea this year after rapper Moonbyul of Mamamoo wore it. And the introduction of makeup lines for men is largely due to K-pop, since many members of the boy bands use “guyliner,” lip tints, and brow fillers; it’s no coincidence that South Korea reportedly makes up 20 percent of the global men’s cosmetics market .

As K-pop’s influence spreads, it has shaped fashion trends in a way music hasn’t seen since the genesis of American hip-hop, when brands like Adidas, Kangol, and Jordans became must-haves for listeners. Designers, according to Lyst, would be wise to embrace K-pop’s impact on fashion, an almost certainly lucrative move.

Innovative videos and devoted fans have led to K-pop fashion’s rise

K-pop stars’ fashion sensibilities haven’t been lost on American publications like Vogue : The magazine named Sehun of the group EXO the “best-dressed man” at Louis Vuitton Resort’s 2019 show in May. It was the second consecutive year that Sehun received the shoutout from the magazine, which highlighted his “fuzzy mohair sweater with bold stripes” and the “red and white woven into each detail” of his outfit. The mix of textures and bold colors in Sehun’s outfit is representative of the K-pop look, in which artists lean toward vivid hues, sensual fabrics, and showy patterns.

Lyst also mentioned Sehun’s appearance at Louis Vuitton in its “Year in Fashion.” Camilla Clarkson, the communications manager for the platform, told me fans’ social media activity plays a role in why the public has become so interested in what K-pop stars wear.

“K-pop’s influence on fashion has been growing rapidly over the years alongside the rise of social media,” Clarkson said. “ No part of their life is too small for fans to tweet, vlog, or ’gram about. As a result, we’ve seen more global searches and sales this year than ever before, with fans desperate to get as close to the stars as possible.”

Since fans can’t actually get to know the K-pop acts they idolize, buying the same items they buy is a way for them to feel connected to these stars.

“Many of them aspire to imitate their favorite K-pop idols by dressing like them, so they use fashion search engines … to buy or seek inspiration from the exact pieces their idols are wearing,” Shelley Li of the K-Style Files , a database of K-pop fashions, told me.

Lyst found that K-pop’s influence has spread across both women’s and men’s fashion, with boy bands like BTS and EXO and women K-pop stars like CL and Park Bom all driving fashion trends. And a group like BTS can inspire both men and women to dress like them. When rapper Suga from the group wore a checked shirt designed by Virgil Abloh , searches for it increased 120 percent, according to Lyst. The same occurred when RM, another BTS rapper, wore a pink Adidas number; searches for pink T-shirts rose by 97 percent.

Li credits the globalization of K-pop music with its growing influence on fashion trends. As K-pop fans have spread from South Korea to countries such as South Africa, the Philippines, and the United States, the fashions its stars wear have more eyes on them and, thus, more copycats. But Li and Clarkson say the specific visuals associated with the music also play a role.

“K-pop comes in a visually stimulating package — high-production music videos and performances with vibrant sets, lighting, and, of course, fashion,” Li said.

Clarkson describes K-pop music videos as pushing boundaries and said that each artist is expected to have a distinct fashion sense.

“K-pop music videos are a fantastic, slick operation,” she said. “They push boundaries and highlight that too much is never enough — from bright, colorful hair and makeup to trend-defying fashion. Each star, or ‘idol,’ as they’re known in Korea, has a unique personality and style.”

BTS has seen its share of fashion-related controversies

While K-pop stars have received plenty of praise for their style, their sartorial choices have sometimes sparked controversy. In November, BTS drew criticism for wearing hats bearing Nazi symbols during a photo shoot. Three years ago, the group faced a similar controversy after taking part in a photo shoot at the Holocaust memorial in Berlin . The Simon Wiesenthal Center also pointed out that BTS has performed onstage waving large flags that looked similar to the Nazi swastika.

Just last month, a scheduled TV appearance featuring BTS was canceled because one member reportedly wore a shirt that included an image of the atomic bomb dropping on Japan. The Simon Wiesenthal Center subsequently declared that BTS owed both the Japanese people and victims of Nazism an apology.

“It is clear that those designing and promoting this group’s career are too comfortable with denigrating the memory of the past,” said Rabbi Abraham Cooper, director of Global Social Action at the Simon Wiesenthal Center, in a statement. “The result is that young generations in Korea and around the world are more likely to identify bigotry and intolerance as being ‘cool’ and help erase the lessons of history.”

It’s unclear how much BTS knows about what the imagery on their clothes symbolizes, or if the group members dress themselves. After the controversies over the group’s clothing in November, Big Hit Entertainment, the agency representing them, issued an apology , stating it “had no intention of causing distress or pain” to those affected by the atomic bomb or by Nazism:

The incident was in no way intentional, and although all apparel and accessories used during the photoshoot had been provided by the publication conducting the shoot, we would like to offer our sincere apologies for inadvertently inflicting pain and distress to anyone affected by totalitarian regimes in the past by failing to strictly review the clothing and accessories that our members were made to wear, as well as to anyone who may have experienced distress and discomfort by witnessing an association of our artists with imagery reminiscent of political extremism.

Clearly, with international fame comes even more responsibility for a supergroup like BTS to dress in a way that takes into account how certain imagery may be read by a wide range of audiences. Still, the fact that BTS has dominated worldwide trends on Twitter during the first few days of December indicates that the controversies related to their clothing certainly haven’t curbed the zeal that surrounds the group.

It makes sense for the fashion world to embrace K-pop

Camilla Clarkson predicts that K-pop and its stars will continue to dominate fashion trends next year. That means more male makeup, unconventional T-shirt choices, brightly colored hair, and bold prints — from stripes to zigzags to polka dots — and clothes featuring cartoon or video game characters. Given this, Clarkson argues that Western fashion designers in particular would be wise to capitalize on the trend.

It took mid- and high-end brands years to embrace hip-hop after rappers stepped out in brands like Coach, Gucci, and Cartier. Gucci specifically has fans in rap artists like Lil Pump and in BTS alike. Predictably, it has seen more sales thanks to a boom in Generation Z and young millennial shoppers , likely influenced by these artists. For luxury fashion brands to wait as long to welcome K-pop as they did hip-hop would be a mistake, at least financially.

“Western designers would do well to see [K-pop] not just as a place for inspiration,” Clarkson said, “but an area to involve themselves in to help bolster sales.”

Want more stories from The Goods by Vox? Sign up for our newsletter here.

Most Popular

• What happened to Nate Silver
• A thousand pigs just burned alive in a barn fire
• Sign up for Vox’s daily newsletter
• The messy Murdoch succession drama, explained
• Who is Ryan Wesley Routh? The suspect in the Trump Florida assassination attempt, explained.

Today, Explained

Understand the world with a daily explainer plus the most compelling stories of the day.

This is the title for the native ad

More in Money

A new study argues the long-run benefits outweigh the costs nearly 10 to 1.

The industry is spending huge sums of cash to convince everyone it’s not a flop.

The mission tested lots of new technology for future, longer missions.

Factory-built housing, ADUs, and community land trusts — all at once.

561 research papers in, the case for degrowth is still weak.

US Steel is a throwback to when American steel and American unions were powerful. Now it might be sold.

International Journal of Interdisciplinary Research

• Open access
• Published: 25 October 2023

How “K-Style” has influenced the younger generation through local Vietnamese influencers

• Habin Kim 1 &
• Ho Jung Choo   ORCID: orcid.org/0000-0001-8744-3602 2  

Fashion and Textiles volume  10 , Article number:  40 ( 2023 ) Cite this article

5008 Accesses

4 Citations

Metrics details

This study delves into the dissemination of K-Style in Vietnam, highlighting the multifaceted role of influencers in co-creating Korean culture through vivid videos that embrace and customize K-Style. Our study reveals the interconnectedness of K-Style practice elements (grooming material, styling competence, imagery meaning) and practice systems. We contribute to the understanding of ‘style’ as a concept connected to ethnic contexts and processes. By aligning practice elements, ‘non-carriers’ contribute to constructing the image of ‘Korean style’. Overseas social influencers hold more significant sway over local consumers, adapting to their sociocultural and ethnic characteristics. This study unveils the process through which everyday life accumulates through practice and eventually forms into culture by analyzing the discourse of influencers naturally present in daily life. Our research offers several significant contributions: (1) A topological approach to the hybridization of the K-Style was employed by analyzing real-time cultural transformation captured in videos. (2) Additionally, the process of cultural diffusion by Vietnamese influencers for Korean culture was identified, thus laying the groundwork for future research on consumption culture migration and evolution.

Introduction

The burgeoning global captivation with Korean television programs and idols has significantly contributed to the heightened interest in K-Beauty and K-Fashion industries (Jang et al., 2021 ). This phenomenon, known as the Korean Wave or Hallyu, epitomizes the recent acculturation propelled by interactive social media (Cleveland, 2018 ). Consumers across the globe actively engage with Korean culture by disseminating memes on social network platforms (Xu et al., 2016 ) and adapting these cultural elements to their contexts (Shifman, 2012 ), transcending mere consumption for momentary entertainment.

In Vietnam, Korean culture has attained substantial popularity (Jang et al., 2021 ). Korean cosmetics, constituting 30% (USD 193.4 million) of Vietnam's total cosmetic imports, possess the largest market share (Korea International Trade Association, 2020 ). The Free Trade Agreement (FTA) between Korea and Vietnam bestows Korean cosmetic products with a competitive edge over French and American counterparts owing to lower prices. Moreover, these products cater to the predilections of younger generations, particularly Gen Z, who seek affordable and distinctive items (Korea Creative Content Agency [KOCCA], 2020 ). The expansion of the Hallyu phenomenon in Vietnam is anticipated to accelerate following the reduction of Korea-Vietnam FTA tariffs for cosmetics from 20 to 5–6% in 2021. According to the “2021 Global Hallyu Trends,” Vietnam plays a pivotal role in the overseas consumption of Korean beauty and fashion products (KOFICE, 2021 ), with 40% of Vietnamese individuals utilizing Korean beauty items—the highest proportion among 18 countries.

Hitherto, Hallyu research has predominantly centered on Korean celebrities, rather than the actual local consumer market (Ham & Lee, 2020 ; Lee et al., 2020 ). Nevertheless, comprehending end-user marketing and local cultural adaptation is vital for assessing global allure and cultural shifts (Chen et al., 2013 ). Recent trends among Vietnamese consumers exhibit facets unaddressed in prior Hallyu studies (Jang et al., 2021 ; Kang et al., 2020 ). These consumers generate novel content by reinterpreting Korean culture and adapting it to their local context (Kotra, 2020 ; Kang et al., 2020 ). Furthermore, Vietnamese Millennials and Gen Z (the MZ generation) acquire information about Korean culture through social network platforms (Q&ME, 2020 ). Given the nature of beauty and fashion categories, YouTube has emerged as a primary online information-sharing platform (Acikgoz & Burnaz, 2021 ; Gwak & Kim, 2021 ; Kotra, 2022 ; Lee & Lee, 84 ). Influential YouTube personalities with extensive followings serve as cultural conduits (Choi & Lee, 2019 ; Lou & Yuan, 2019 ; Tran & Nguyen, 2020 ). Young Vietnamese consumers, who are generally open-minded, actively explore external cultures via interactive social network platforms (Tran & Nguyen, 2020 ). Despite the significant role of YouTube in K-Style communication among young consumers, limited research has examined influencer content within the context of cultural diffusion. Consequently, this study aims to augment our understanding of Vietnamese influencers’ content as intermediaries in web-based cultural distribution.

By delving into the acculturation of Hallyu through the lens of local influencers, this study addresses voids present in extant research. Specifically, we conducted process theorization approach for analysis of Vietnamese influencers’ content scripts to scrutinize the cultural diffusion and amalgamation of K-Style. This research endeavors to bolster our understanding and predictability of Hallyu-affiliated industries while providing an initial exploration of social media influencers' (SMIs) influence on domestic consumers' perceptions of foreign cultures.

This investigation is steered by the primary research question: How do Vietnamese YouTubers disseminate K-Style to local consumers? To address this query, we draw upon a practice theoretic framework that accentuates cross-cultural contexts (Akaka et al., 2022 ; Scholz, 2021 ; Shove et al., 2012 ). In lieu of concentrating on Korean brands or products, our focus lies on the manner in which overseas consumers partake in K-Style. Consequently, this study examines how the practice elements of the Korean lifestyle (meaning, aesthetic material, and styling competence) traverse through non-face-to-face channels.

Literature Review

• Networked cultural diffusion

Cultural diffusion encompasses the spread of cultural norms, values, behaviors, and technologies between societies, countries, or ethnic groups (Kinnunen, 1996 ; Rudmin, 2010 ) through interconnected social systems (Rogers, 2010 ). At the societal level, cultural diffusion involves adopting and adapting to a different culture (Lewitt, 1998 ), signifying that elements of another culture become integral parts of the self (Rudmin, 2010 ). Since Alfred Kroeber ( 1940 ) first developed the cultural diffusion theory, research has been conducted in various fields such as anthropology, geography, and philosophy (Kaufman & Patterson, 2005 ; Kroeber, 1940 ; Pemberton, 1936 ; Robinson, 1999 ).

Previously, cultural blending occurred through a relatively linear process, where two cultures mixed and transformed (Tomasello, 1999 ). However, accelerated by ICT, networked globalization has significantly altered the social system, with social media platforms now playing a more prominent role than centralized institutions like governments and firms (Xu et al., 2015 ). In this boundless social system, cultural diffusion occurs rapidly and unpredictably (Ryoo, 2009 ). Remote connections to other cultures can facilitate acculturation through digital networks, which refers to “networked cultural diffusion” (Forbush & Foucault-Welles, 2016 ; Kizgin et al., 2019 ). Social media content is considered viral when it reproduces exponentially, similar to an epidemic (Shifman, 2012 ). Moreover, digital cultural blends in social media involve short-term inter-individual collaborations that continually reinvent, multiply, and reproduce unintentionally (Zambrano et al., 2019 ).

Nonlinear cultural diffusion studies based on network analysis have been conducted in various fields (Derex et al., 2013 ; Kaufman & Patterson, 2005 ; Polese, 2009 ; Whiten et al., 2016 ; Xu et al., 2016 ; Zappettini et al., 2014 ). Zappettini et al. ( 2014 ) verified that the range of identities for community and belonging we perceive has changed since the era of supranational networks. Polese ( 2009 ) proposed a new value creation model for networked culture and Whiten et al. ( 2016 ) reviewed cultural diffusion research in humans and animals in the context of culture, complexity, tools, language, and learning methods. Derex et al., ( 2013 ) confirmed through a computer fishing game that the larger the group size, the more likely it is to maintain cultural complexity. They explained that this result appears because the continuous collision of cultures maintains diversity in the evolutionary dimension of society. Kaufman and Patterson ( 2005 ) emphasized the role of intermediary agents in the process of cultural shift in their study on the factors that contributed to the successful global spread of the British sport cricket. Studies on the diffusion of culture through social networks have been very rare. Several studies on the diffusion of the Korean Wave have been conducted, for example, Xu et al., ( 2016 ) examined the characteristics of this consumer-based culture diffusion through networks through the diffusion analysis of collective behaviors that follow similar videos as if challenging.

Studies through social networks have been mainly conducted in areas other than cultural contexts. For instance, fields of communication (Baumgartner et al., 2021 ), sociology (Almaatouq et al., 2020 ; Chimento et al., 2022 ), and public administration (Zheng & Zheng, 2014 ), numerous studies have revealed the powerful influence of social networks on information proliferation (Cantor et al., 2021 ; Karsai et al., 2016 ), social learning (Chimento et al., 2022 ; Hasenjager et al., 2021 ), trust (Truong et al., 2018 , 2019 ), positive emotional effects, and even subjective norms (Truong et al., 132 , 133 ), shaping people's values, ideologies, and collective behaviors (Rodriguez, 2013 ). Both corporations and governments (Mergel, 2013 ) actively utilize this influence. However, the central power of social networks resides with influencers resembling "friends" (Kwak & Yoh, 2021 ).

Despite the importance of understanding the role of influencers in the spread of culture through social networks, there is a notable lack of research employing discourse analysis to investigate this phenomenon. Analyzing the discourse of influencers, who play a crucial role in shaping cultural diffusion, is essential to gain a deeper insight into the mechanisms underlying this process. However, existing literature in this area remains sparse, highlighting the need for further exploration and investigation to fill this knowledge gap.

What is K-Style?

K-Style, a term derived from Korean content like K-Drama, encompasses fashion, beauty products, brands, styling, and images, as well as Korean lifestyle and cultural representation (Hurt, 2022 ; Park et al., 2021 ). It has gained recognition internationally due to the Korean Wave and is typically divided into K-Beauty and K-Fashion (i.e., Hurt, 2022 ). Enthusiasm for the makeup and fashion of Korean celebrities in Korean movies and dramas has contributed to the spread of K-Style (Hurt, 2022 ; Park et al., 2021 ; Yu, 2016 ). Furthermore, contemporary K-fashion is a clothing style that reflects the latest market trends and lifestyle and has inspired fashion brands worldwide through its street style (An et al., 2023 ).

The term ‘style’ suggests a recurring daily practice that permeates life (Schatzki, 1996 ), whereas ‘stylish’ implies being fashionable and sophisticated, particularly in fashion (Micheal, 2004 ). Practice theory (Bourdieu, 1997 ) offers a framework for understanding both the process and the outcome of K-Style. This theory highlights how individuals' daily activities create and reproduce social structures (Giddens, 1984 ; Thomas & Epp, 2019 , p565). Practices, as everyday actions, occur within societies and contribute to the formation of social structures. For these practices to be psychologically distinguishable and reproducible, they must be based on collective outcomes (Arnould & Thompson, 2005 ; Schatzki, 2019 , p. 29).

As societies evolve, practices undergo continuous changes, adapting to the environment and members' interactions (Cantor et al., 2021 ). During this process, individuals acquire and transmit knowledge and logic regarding specific actions in particular situations (i.e., codification) or reinterpret actions and knowledge with new meanings suitable for novel environments (i.e., transposition) (Shove et al., 2012 ).

Consumer-oriented practice literature incorporates various materials (Canniford & Shankar, 2013 ; Seregina & Weijo, 2017 ). However, given that K-Style's influence is not merely an external result but also includes cultural characteristics stemming from narrative content, it is essential to consider the meaning of this lifestyle. Habitus, a core concept in practice theory, refers to the "structuring structure that organizes practices and the perception of practices," encompassing deeply internalized life patterns (Bourdieu & P., 1984 : 170). Additionally, language and discourse play a crucial role in establishing identity and social membership (Lee & Lee, 2019 ; van Dijk, 1997 ). Therefore, examining local consumers' lifestyles and K-Style’s spread as their habits and practices through the analysis of daily conversations and discussions is highly significant.

Streaming K-Style consumption

Why do young overseas consumers appreciate K-Style? It is essential to review the literature that has analyzed the factors and reasons behind the enthusiasm for Hallyu, or K-Style. Lee ( 2003 ) studied the communication effect of Hallyu and analyzed how Chinese consumption of Korean culture impacts their perception and attitude toward Korea. This study emphasized the importance of researching the effect of remote exposure to culture, arguing that repeated exposure to media related to Korean style or K-Style provides overseas consumers with a vicarious experience of Korea through the reality depicted in the media (Lee, 2003 ).

The reasons for the popularity of the Korean Wave are debatable, but social media has facilitated its rapid global growth. As noted by the Korean Foundation for International Cultural Exchange (KOFICE, 2020 ), social network services (SNSs) are the leading contact medium for Korean cultural content in Vietnam, and Vietnamese consumers share information on new trends and products of Korean fashion and beauty via various social media platforms (Jang et al., 2021 ).

Truong, ( 2018 ) highlights the role of social media, where positive product reviews contribute to trust in products and influence purchasing decisions for Korean Wave products via subjective norms. Additionally, the author asserts that social media's growing power and authority among young Vietnamese consumers can be attributed to its ability to affect social behavior by exerting perceived social pressure, thereby accounting for some of the variances in moral, legal, and social norms (Ajzen, 1991 ; Fishbein & Ajzen, 2010 ) and surpassing information provided by companies or organizations.

Truong, ( 2019 ) also emphasizes the significance of social media for Vietnamese consumers. In line with Truong ( 2018 )’s findings, social media was found to positively affect social norms and trust in this study. Additionally, it positively influenced perceptions of product quality and utility. In this research, the country-of-origin effect had a positive impact on quality perception and product purchasing intent through product involvement (Truong, 2019 ).

Furthermore, Vietnamese Gen Z’s purchase intentions for Korean products are impacted by the norms and trust formed in social networks (Truong, 2018 , 2019 ). Overseas consumers have limited ability to purchase and test a product directly; therefore, they test it through a vicarious experience provided by SMIs before consumption. Consequently, they develop perceptions and attitudes toward a product before using it (Lee & Lee, 2022 ; Smith, 2006 ).

Video-oriented SNSs accentuate the visual characteristics of fashion and beauty products (Choi, 2017 ; Kim, 2022 ; Wang & Lee, 2021 ). In this context, YouTube (Khan, 2017 ) plays an active role in sharing beauty and fashion information by emphasizing product attributes in Vietnam (Kotra, 2021 ). Vietnam’s MZ Generation most frequently uses YouTube to obtain beauty information (Decision Lab, 2020 ) and watch Korean cultural content (KOFICE, 2020 ). Vietnam's MZ generation tends to make purchase decisions by referencing information from influencers, such as YouTubers (Q&ME, 2020 ). Moreover, YouTube allows individuals to create and share videos easily, encouraging them to creatively reproduce foreign cultures and participate in cultural adaptation, rather than merely consuming content as in traditional media (Shifman, 2012 ).

Only a few studies have analyzed the proliferation of K-Style through social media in Vietnam (Kang et al., 2020 ; Kim & Park, 2020 ; Lee et al., 2020 ). For example, Kang et al. ( 2020 ) used focus group interviews to demonstrate that Vietnamese international students in Korea have internalized beauty ideals through Korean cultural content. Additionally, the image of K-Beauty for the Vietnamese is a natural beauty with white and smooth skin (Yu, 2016 ), as seen in cosmetic advertisements with K-wave celebrities (Lee et al., 2015 ).

Vietnamese consumer

In order to gain a more comprehensive understanding of the features of K-Content in Vietnam, it is essential to consider the cultural inclinations and preferences of Vietnamese consumers. Historically, Vietnam, like Korea and other East Asian countries, has been known as a society with a high collectivist tendency (Choi et al., 2022 ; Hofstede Insights, 2020 ). However, the country’s economic transformation, commonly known as Doi Moi, has significantly shaped consumer attitudes, perceptions, and behaviors. This transformation has led to an increased sense of individuality among Vietnamese consumers, which has been observed by Mai ( 2019 ). This heightened sense of individuality is reflected in the way that Vietnamese consumers interact with different forms of media and entertainment, including K-Culture.

Furthermore, it is worth noting that a considerable portion of Vietnamese consumers consists of the younger generation. This demographic is proficient in embracing new cultural nuances, as Nguyen ( 2001 ) highlighted. Compared to their counterparts in countries like China, they display greater technological confidence (Khan et al., 2019 ), positively impacting their openness to foreign cultures. This generation has been instrumental in the swift and enthusiastic reception of Korean content and traditions in Vietnam.

Additionally, Vietnam's historical and cultural backdrop has been rooted in thriftiness and a strong community focus (Mai, 2019 ). Korean culture also shares these values, making it resonate well with Vietnamese consumers. As a result, Vietnamese consumers have been receptive to Korean content and traditions.

However, Truong ( 2018 ) argues that consumer ethnocentrism can negatively impact the trust in Korean products among young Vietnamese consumers, ultimately affecting their appeal. According to a study by Vuong and Khanh Giao ( 2020 ) on Vietnamese consumers, consumers evaluated that the higher they perceive a brand to be global, the higher the brand's quality and social responsibility, leading to an increased purchase intention. However, if consumer ethnocentrism is high, this effect is weakened.

Selecting representative Vietnamese YouTubers

We used targeted sampling strategies to obtain snapshots of the characteristics of videos that met specific criteria, indicating that the power of influence and field of content is indisputable. Famous Vietnamese beauty and fashion YouTubers and their popular content were selected as research samples. Initially, we extracted all beauty/fashion Youtubers from Noxinfluencer.com, which provides analyses and information on worldwide influencers. First, we browsed a list of the Top 250 YouTubers (in order of subscribers) in Vietnam in the “know-how/style” category, which includes beauty and fashion. We selected YouTubers who (1) have more than 100,000 subscribers, which YouTube uses to acknowledge influence; (2) upload videos constantly; (3) have more than 70% beauty or fashion content in their top ten viewed videos; and (4) operate the channel for personal use only. We also added one more mega channel, “Changmakeup,” targeting Vietnamese consumers; it belongs to a Vietnamese influencer, but the “country” on the website is set to “the United States” for global marketing. Subsequently, a total of 29 influencers and their top ten videos (290 videos in total) were selected (see Table 1 ), and we received Institutional Review Board (IRB) approval for the research.

Research procedure

Our study aimed to understand how K-Style is disseminated, so we focused on Korea-related video content among a total of 290 videos (29 influencers * 10 videos). The criteria for determining whether a video was Korea-related were based on two factors: (1) the influencer's mention of Korea or anything associated with Korea in the video (Y/N), and (2) the influencer's use of Korean products in the video (Y/N). Even a brief reference to Korea (e.g., “This product is from Korea”), or mere exposure of Korean brand products can impact Vietnamese consumers' perceptions of Korea through imagery (Janiszewski, 1993 ). Videos meeting at least one of these criteria were included in our analysis.

We employed the following procedure to compile a list of videos satisfying these criteria. First, two bilingual researchers (fluent in both Vietnamese and English) reviewed all 290 videos. They coded each video based on the aforementioned criteria. Second, 20% of the videos were randomly sampled and cross-checked, yielding a coding confidence of 85%. Consequently, 150 out of the 290 videos met at least one criterion. Upon a second review (as of April 2023), one video had been made private; thus, our final sample consisted of 149 videos (n = 149, 51.4%; Table 2 and Additional file [ 1 ]: Appendix A).

Two Vietnamese researchers converted the narratives of the 149 YouTube influencers into scripts, closely monitoring each video. These scripts were then translated into English using AI translation programs, Google Translate and Naver Papago. After randomizing and cross-checking 15% of the text from both translations, we achieved a confidence score of 87.9%. Two bilingual researchers conducted additional reviews by re-examining the Vietnamese and English transcripts and the original video sources.

To identify how YouTube influencers spread K-Style and its related themes, we repeatedly viewed the videos until we were familiar with the content. We initially extracted seven elements for the theorization approach and one to eight sub-topics. Subsequently, we refined our analysis, identifying three main elements, three links, and two context elements, and reorganizing the sub-elements into two or three categories based on their content. To effectively illustrate the process through which influencers disseminated K-Style, we employed a topological approach to visualize our findings as guided by the process theorization approach (Giesler & Thompson, 2016 ) (Fig.  1 ).

Process of K-style diffusion

Results and Discussion

To investigate the manner in which Vietnamese influencers promote K-Style, a topological approach is employed to identify the transformation and reorganization of K-Style element structures within a cross-cultural setting (Akaka et al., 2022 ; Collier, 2009 ).

In addressing the main research question (How do Vietnamese YouTubers disseminate K-Style to local consumers?) in the study's results section is answered by analyzing the discourse in Vietnamese YouTubers' videos. A thorough examination of this discourse reveals that the K-Style practices they aim to convey to local consumers can be categorized into three elements:

(1) Grooming materials or resources, which include products used as tools or brands (Akaka et al., 2022 ; Scholz, 2021 ), and in this study, it means all the capital that consumers/influencers can apply (or have potential) to care for themselves or in their daily life; (2) Styling competence, which refers to proficiency, techniques in makeup diffusion studies on social media (Scholz, 2021 ), and here, ‘styling’ is not only for hair but also for all other ‘beautifying’ behaviors or techniques, including management, and styling competence refers to all such capacity; (3) Imagery meaning, which signifies vivid configurative ideas, images, or the legitimacy of practices (Glaveanu et al., 2020 ; Shove et al., 2012 , p. 14) or the cultural context-specific significance of each course, and in this study, pertains to the Korean representative images, ideas, or relationship with other K-Content.

K-Style elements processual linkages

Prior research on practice elements has indicated that each element can function independently and can be transmitted and diffused across generations and cultures (Hui, Schatzki, & Shove, 2016 ; Shove et al., 2012 , p. 39). However, the present study observed that K-Style elements, as portrayed by influencers, were typically delivered in combinations of two or more elements rather than as purely independent components. This finding suggests that a unique dynamic arises based on the balance and interplay of factors created by influencers (Akaka et al., 2022 ). The results differed from those of Shove et al., ( 2012 ) and Akaka et al., ( 2022 ), as imagery meaning did not consistently serve as a bridging element between other two. Instead, the combination of other elements, such as grooming materials and styling competence, could facilitate the dissemination of technique or enhance quality of life due to the functionality associated with Korean products.

K-Style implementation: alignment between practice elements of ‘grooming material’ and ‘styling competence’

The influencers shared their daily lives through videos on dressing or putting on makeup and shared know-how, management methods, and 'life hack' makeup techniques (i.e. styling competence). In the process, they used Korean products or mentioned Korean celebrities. By connecting the two elements, it is redefined in the new environment of K-Style. Additionally, some of them expose product information and URL paths that their followers could purchase on video subtitles.

Everyone when applying (THE SEAM) concealer, remember to brush around a bit to melt the border. I will use a little bit for the upper eyelid area because the eye area is always darker than the surrounding skin; I will use a little to raise the eye skin tone A little. Then I won't use eye color, so I don't need to use a lot of concealer on my upper eyelid I just use a little to even out the color. (YouTuber 99) Today I will send you a makeup tutorial clip Every day is naturally beautiful, but it's not like Song Hye-kyo. This type of makeup is done very quickly and simply. No high technical requirements, you can easily follow. And suitable for makeup every day, going to school, going to work, dating in the morning, fresh and youthful. Now let's start,I will use a sponge to curl my hair. Up is an extremely useful method to create a natural curly hairstyle. No need to use heat, you can have a little Styling gel before curling to keep the hair in place longer…(YouTuber148)

K-Style branding: alignment between elements of ‘grooming material’ and ‘imagery meaning’

Vietnamese influencers have been found to assess Korean products using two primary criteria: the reputation of the brand or product, and the overarching national image associated with Korea in instances where the brand is unfamiliar. As grooming material acquire new imagery meanings within novel contexts, alterations in the practices and preferences of the target group may emerge, contingent upon the level of brand recognition in the local market (e.g., the interplay between Brand Effect and Country Effect). For brands that have already garnered popularity among Vietnamese consumers, influencers tend to evaluate them based on their pre-existing perceptions of the brand, often without reference to the country of origin. Conversely, for newly introduced or lesser-known brands, influencers tend to rely on generalized stereotypes associated with Korea as a proxy for evaluation.

Well-known Korean brand in Vietnam

The new TOO COOL FOR SCHOOL click concealer is amazing. There is always a tip to cover the dark circles first, dab the cream on the acne spots, and then use a brush to brush them carefully. (YouTuber 110) Use MISSHA’s brown-toned cheek cream to blend on your nose and cheekbones. Use a brush to spread evenly. Also, for the product of MISSHA’s cheek cream, I use a light pink tone to lightly spread it on pink cheeks. (YouTuber 14)

Not well-known Korean brand in Vietnam

There are also two suggestions for everyone. First, it’s CELL FUSION C of Korea, I have reviewed it in detail for everyone in the video on how to choose sunscreen for each skin type. (YouTuber 34) Here is a brand, which is called the company ROMAND, this company is a Korean company, which she was given as a gift when she came to Korea; this lipstick is very nice to use. (YouTuber 56) I noticed it recently; it’s this mask, this is a mask from MEDIHEAL, then I must have found this very popular, so I bought a box like this when traveling to Korea. (YouTuber 48)

K-Style codification: alignment between practice elements of ‘styling competence’ and ‘imagery meaning’

In general, the recognition of a fashion product or style worn by others in everyday life begins with its application by the individual. That is to say, initially, the external imagery of the applied styling is created rather than focusing on the 'product' itself. K-Style codification can be defined as styling, behavior patterns, or techniques that possess a Korean essence, even in the absence of tangible materials. Since brand images are characterized by customers' associations and beliefs about a brand (Anselmsson et al., 2014 ), this concept can be extended to include the brand, country, or the nation's culture (Vahie & Paswan, 2006 ). Renowned Vietnamese YouTubers primarily shaped a national image of Korea through past experiences across various channels. This was achieved by aligning styling competence with imagery meaning related to the national image. The K-Style forms they associate with include Effortless naturalness, Lightness for daily wear , and Visual moderateness.

Effortless naturalness

Now, I am going to use Tree Company CC cream... it serves to balance skin pigmentation. It works for all skin tones. The cream is quite smooth and silky and has a highlighter that makes your face bright and looks natural, like a Korean girl. (YouTuber 54)

Lightness for daily

When I go to school or work every day, I think it is better to wear Korean-style makeup, which is light. (YouTuber 84)

This eyeshadow palette is so pretty. The matte colors are light and easy to blend, suitable for those who like Korean-style dewy makeup. (YouTuber 33)

Visual moderateness

For Korean makeup, I will draw lightly horizontally, neither too sharp nor too thick. (YouTuber 96)

K-Style was compared with other countries, and its characteristics were emphasized. Vietnamese influencers compare Korean culture with other cultures in the process of appreciating Korean products and culture. They consider Korean makeup styles as representatives of Asian makeup, contrasting Western makeup styles. For example, Vietnamese YouTubers share their perceptions of the characteristics of Korean products in contrast to Western products, commenting on the rare and frequent usage of nude tones in Korean and Western beauty products, respectively. Moreover, they believe that Western makeup and Thai makeup are similar—sharp and attractive—and that Korean makeup is primarily bright and cute.

Speaking of Asian makeup, Korean makeup is okay, so I will do Korean makeup in this video; I will use the cushion. About this cushion, it’s a bit white for me, so I will use it all the way down to my neck... (YouTuber 96) This is an orange-brown color, really very rare in Korean lipstick palettes that look very western and very attractive……This lipstick color is perfect for those of you who like western and Thai makeup with accentuated eyes and lips...there are a variety of nude tones that are closer to western colors that break the prejudices of Korean makeup. (YouTuber 118)

Interactive K-Style adaptation

These elements have also been transformed and gradually adapted through the process of reconnecting with elements of other practices within the context of the new culture, Vietnam's local social system and context. While evaluating or forming attitudes toward Korean products, Vietnamese YouTubers assess these products based on their suitability to their ethnic (i.e., skin color tone), cultural (i.e., lifestyle, characteristics), and geographic (i.e., climate) contexts.

Interactive adaptation in local sociocultural context

Cultural context

YouTubers considered fitness, noting that the context of using Korean products may not match Vietnamese people’s general lifestyle or characteristics. Korean curly hairstyles may not be suitable for consumers who commute with motorbikes, Vietnam’s primary means of transportation. In addition, influencers mentioned concern about the creative use of Korean products being restricted due to Vietnamese consumers’ immovable makeup rituals: Today, I will show you a loose Korean hairstyle. A certain length from here to here; If it’s too long, you can’t. It can be challenging for motorcyclists. (YouTuber 52) I think we show our passion and understanding on our own faces. In the world, there are many ways in which we express our creativity in makeup. But as I was in Vietnam, I encountered many limitations. That is, many Vietnamese friends just like to wear simple and normal makeup. (YouTuber 52)

Geographic context

While accepting Korean products or styles, influencers analyzed the usage suitability by considering various factors, including geographical characteristics, mainly the climatic factor. In general, the K-Style was not accepted as it was due to the higher temperature and humid climate of Vietnam:

As PONY is in Korea and the weather is cool there, the gel will hold up well. Sorry, but this will not work well in Vietnam. (YouTuber 62) Today, I will use an Innisfree cushion box. (…) It makes your face look like a Korean by making it shiny. However, it is better suited to a colder country than Vietnam. (YouTuber 19)

Interactive adaptation in ethnic context

Vietnamese influencers adopt Korean products to suit their individual preferences. They evolve their consumption behaviors based on their evaluations and attitudes while using Korean products. Through trial and error, they search for either the most suitable product or other products with complementary features. For example, they use Korean makeup products, but they often make adjustments due to Vietnam’s humidity. Influencers share their consumption knowledge and tips through YouTube:

Vietnamese YouTubers discussed whether K-Style or products were suitable for most skin tones or oily skin types in Vietnam:

This is based on a pink tone, so this color is only suitable for white-skinned people, such as Korean girls; otherwise, just forget it. (YouTuber 137) I chose Korean products today because I want to have brighter white skin with this peach tone. Therefore, I think using these Korean products is a proper choice. If you have oily skin, this product will help to keep your skin from becoming greasy. (YouTuber 37) If you go to buy a cushion and choose a Korean product, I advise you to choose the darkest tone because Korean women have very white skin. If you wear it in an extremely white tone, it does not suit Vietnam’s yellow skin tone. (YouTuber 23) We are in Vietnam, and the climate here is much hotter and more humid than in Korea, so we need to apply powder after the cushion so that it does not shine and last longer. (YouTuber 23) Korean friends usually do not like to apply powder. (…) However, Vietnam is hot and humid. Everyone, if you are watching this video, please remember that you need to apply the powder to your skin. (YouTuber 24)

This is based on a pink tone, so this color is only suitable for white-skinned people, such as Korean girls; otherwise, just forget it. (YouTuber 137) I chose Korean products today because I want to have brighter white skin with this peach tone. Therefore, I think using these Korean products is a proper choice. If you have oily skin, this product will help to keep your skin from becoming greasy. (YouTuber 37)

When Korean products or styles do not satisfy their needs, they boldly choose better alternatives. For example, if they do not find many warm or nude tones in Korean cosmetics, they recommend using products from other countries. They have a specific image or idea of Korean products; if the product lacks accurate information, influencers’ refusal or alternative actions affect consumers through videos:

One more thing that I almost forgot to say is that L’Oréal’s cushions have a warmer tone than the pink tones of other Korean brands’ cushions. Therefore, if you are curious about warm-tone cushions or have not yet found the warm tone you want, try L’Oréal cushions. (YouTuber 57)

The spread of k-style found that the practice elements of grooming material, styling competence, and imagery meaning and the practice system (e.g., environment, art, social structure, etc.) are closely related to each other. In particular, the discovery that 'style' is different from other practices is a concept connected to the ethnic context, that is, the meaning of the human body and the self, as well as a process, which is the greatest contribution of this study and an insightful step board for future research.

Fig. 1 expands the delineation of the practice elements and their connections examined by Shove et al. ( 2012 ) and the cultural migration process discussed by Akaka et al. ( 2022 ) to fit the findings of this study (Epp et al., 2014 ; Phipps & Ozanne, 2017 ).

This study elucidates the dissemination of K-Style in Vietnam and demonstrates the multifaceted role of influencers in co-creating Korean culture. By examining how Vietnamese YouTube influencers affect their local followers through vivid videos of embracing and customizing K-Style, the findings contribute to the existing literature on consumer behavior, social media influence, and the role of influencers.

As a result of this study, it was found that a positive attitude toward Hallyu culture through influencer videos had a positive effect on product purchase intention. This is consistent with the results of Truong ( 2018 , 2019 ) that a positive attitude toward the Korean Wave leads to product purchase intention. In addition, in the branding process that connects ingredients and meaning, when brand awareness is low, influencers label the product as a 'Korean brand' and emphasize the quality of the product through a national image, which has a positive effect on quality perception.

Truong ( 2018 ) identified the young core generation in Vietnam as Generation C, emphasizing the noteworthy effect of Hallyu 4.0 social media and the younger generation's ethnocentrism on their decision to purchase Korean products. The present study validates that social media not only affects trust but also subjective norms, which in turn induce attitudes and purchase decisions. It is noteworthy that the study provides tangible evidence of social media's impact on Korean product purchase decisions, as previously indicated by Truong ( 2018 , 2019 ). Vietnamese influencers build trust with viewers by presenting themselves as relatable consumers or by using products directly, supporting Nielsen's (2009) finding that peer information is more trustworthy than company-generated information.

Kaufman and Patterson's ( 2005 ) cross-national study on the spread of cricket, a traditional British sport, emphasizes the role of influential mediators in shaping cultural meaning and institutional access. This perspective expands our understanding of consumer culture diffusion by highlighting the importance of mediators, or influencers, in the dynamics of cultural dissemination.

In particular, practices are reproduced as their elements are copied by imitation by 'non-carriers' who wish to participate in the practice but do not yet engage in it (Akaka et al., 2022 ). In this manner, K-Style has been constructed as an image of 'Korean style' from the non-carrier perspective observed from the outside. Overseas social influencers hold more sway over local consumers because recognizing national characteristics, based on their direct or indirect experiences or assumptions, carries greater significance in forming a national image than an internal influencer's viewpoint.

Truong's ( 2018 ) findings indicate that Vietnamese consumers exhibit strong consumer ethnocentrism, with consumer nationalism playing a crucial role in evaluating Korean products. Remarkably, this characteristic is more prominent in Vietnam than in other countries' adoption of K-Style. Although this generation has been exposed to a global perspective, they remain critical of both their own and other cultures (Nguyen, 2022 ). A study on Filipino consumers' attitudes towards Korean products found that subjective norms and perceived behavioral control did not negatively impact purchase intention, while attitudes towards Korea had a strong positive effect (Cayaban et al., 2023 ). Furthermore, Garcia-Gutiérrez et al.'s ( 2020 ) research demonstrates that subjective norms are not related to multicultural consumer behavior. However, consumer ethnocentrism has been shown to negatively affect trust in foreign brands (Truong, 2018 , 2019 ; Vuong & Khanh, 2020 ). It is also evident that stereotypes (cognitive), ethnocentrism (affective), and social distance (conative) play a pivotal role in intercultural communication competencies and attitudes toward other cultures, as highlighted by Wiseman et al., ( 1989 ). This study underscores the importance of grasping the concept of consumer ethnocentrism and how it influences the modification of foreign culture. As social media platforms grow and provide insights into global cultures, marketers focusing on diverse audiences should immerse themselves more in understanding those cultures. Thus, it is essential to delve deeper into the culture, heritage, and ethnicity of the business target consumer.

Theoretical and managerial contribution

The present study offers several vital contributions. Firstly, it illuminates the acculturation process of Vietnamese influencers in relation to Korean culture, revealing their attitudes and experiences as consumers. This paves the way for future research on their exposure, acceptance process, and attitudes towards Korean culture. The study also extends the traditional cultural diffusion model in the context of networked media, enhancing our understanding of video-based SNS platforms, which are highly favored by the MZ generation. Secondly, this research is the first to investigate the digital hybridization of the Korean Wave through social media influencers (SMIs) by analyzing scripts that embody acculturation in real-time. Although previous studies have focused on influencers (Feng et al., 2020 ; Tafesse & Wood, 2021 ), none have specifically analyzed their utterances as evidence of cultural change. The findings suggest that Vietnamese consumers share more similarities with Korean influencers (Choo et al., 2022 ) and gain popularity by demonstrating the application of Korean products and styles to the Vietnamese region and ethnicity. This corroborates prior findings that consumers' identification with a speaker impacts the speaker's attractiveness, credibility, and content (Min et al., 2019 ; Shan et al., 2020 ; Tolbert & Drogos, 2019 ).

From a managerial standpoint, the study offers critical insights. It underscores the importance of observing Vietnamese consumers' K-Style adoption behaviors, which have significant implications for local marketing strategies of Korean products and styles. Consequently, marketers should promote products suitable for Vietnam's climate or emphasize color and type preferences of Vietnamese consumers. Moreover, the study highlights the need for companies targeting the Vietnamese market to thoroughly analyze ethnic tendencies and characteristics of consumers.

Furthermore, Vietnamese influencers' emulation or modification of famous Korean YouTubers' consumption behaviors underscores the diversification of the stages and directions of Korean beauty and fashion dissemination. As the influence of the Korean Wave expands, it is no longer restricted to the domestic market. Lastly, the study reveals that as the penetration of the Korean Wave and K-Style increases among Vietnamese consumers, popular brands are recognized for their inherent quality rather than their association with South Korea. Thus, marketers aiming to expand in Vietnam should focus on brand image marketing and product quality rather than relying on Hallyu's popularity. Finally, we show that cultural migration and reproduction happen through the copying behavior by 'intermediaries' who are not directly involved (Akaka et al., 2022 ). This research is a significant contribution to the field of cross-culture cultural migration and has laid an essential foundation for further investigation.

Limitations and future research

Despite its contributions, this study has several limitations. Firstly, the analysis sample may exclude recently emerging popular content due to the selection criteria based on YouTube influencers' views. To capture the latest trends, future research should consider the most recent content instead. Secondly, young Vietnamese consumers are increasingly engaging with global consumers through intelligent platforms such as live streaming, AR/VR platforms, and the metaverse (Choo, 2019 ; Kim et al., 2014 ). Consequently, further research is needed to investigate Vietnamese consumers' acceptance of Korean culture through these platforms. Thirdly, as K-Style has spread across diverse countries and channels, follow-up research should explore the dissemination of Korean culture among influencers active in various media in other Asian countries or Europe. Finally, considering empirical evidence substantiating the profound influence of large-scale global phenomena, such as pandemics, on the awareness of cosmetic products, as elucidated by Choi et al. ( 2022 ), future research sould investigate the potential effects of global crises on the phenomenon of cultural diffusion.

Availability of data and materials

The datasets used and/or analyzed during the current study are available from the corresponding author upon reasonable request.

Abbreviations

Generation Z

Free trade agreement

Korea creative content agency

Korean foundation for international cultural exchange

Korean style

Millennials and Gen Z

Social network service

• Social media influencer

Acikgoz, F., & Burnaz, S. (2021). The influence of “influencer marketing” on youtube influencers. International Journal of Internet Marketing and Advertising, 15 (2), 201–219. https://doi.org/10.1504/IJIMA.2021.114331

Article   Google Scholar  

Ajzen, I. (1991). The theory of planned behavior. Organizational Behavior and Human Decision Processes, 50 (2), 179–211. https://doi.org/10.1016/0749-5978(91)90020-t

Akaka, M. A., Schau, H. J., & Vargo, S. L. (2022). Practice diffusion. Journal of Consumer Research, 48 (6), 939–969. https://doi.org/10.1093/jcr/ucab045

Akhtarieva, R., Ibragimova, E., & Tarasova, A. (2019). Dynamics of acculturation processes among foreign students in the multi-ethnic educational environment of the higher educational establishment. Journal of Social Studies Education Research, 10 (3), 82–102.

Google Scholar  

Almaatouq, A., Noriega-Campero, A., Alotaibi, A., Krafft, P. M., Moussaid, M., & Pentland, A. (2020). Adaptive social networks promote the wisdom of crowds. Proceedings of the National Academy of Sciences of the USA, 117 (21), 11379–11386. https://doi.org/10.1073/pnas.1917687117

Article   CAS   PubMed   PubMed Central   Google Scholar  

An, H., Lee, K. Y., Choi, Y., & Park, M. (2023). Conceptual framework of hybrid style in fashion image datasets for machine learning. Fashion and Textiles, 10 (1), 1–18. https://doi.org/10.1186/s40691-023-00338-8 .

Anselmsson, J., Bondesson, N. V., & Johansson, U. (2014). Brand image and customers’ willingness to pay a price premium for food brands. Journal of Product & Brand Management, 23 (2), 3–37. https://doi.org/10.1073/pnas.1917687117

Article   CAS   Google Scholar  

Arnould, E. J., & Thompson, C. J. (2005). Consumer culture theory (CCT): Twenty years of research. Journal of Consumer Research, 31 (4), 868–882. https://doi.org/10.1086/426626

Baumgartner, A., Fürst, S., & Schönhagen, P. (2021). Conceptualizing the dialogical structure of mass communication: a comparison of the dialogical networks and mediated social communication approaches. Discourse, Context & Media, 44 , Article 100546. https://doi.org/10.1016/j.dcm.2021.100546

Bossio, D., McCosker, A., Milne, E., Golding, D., & Albarrán-Torres, C. (2020). Social media managers as intermediaries: negotiating the personal and professional in organisational communication. Communication Research and Practice, 6 (2), 95–110. https://doi.org/10.1857/nyu/9781479838554.003.0007

Bourdieu, P. (1977). Outline of a theory of practice . Cambridge: Cambridge University Press.

Book   Google Scholar  

Bourdieu, P. (1984). Distinction: a social critique of the judgement of taste . Routledge.

Braun, V., & Clarke, V. (2006). Using thematic analysis in psychology. Qualitative Research in Psychology, 3 (2), 77–101. https://doi.org/10.1191/1478088706qp063oa

Canniford, R., & Shankar, A. (2013). Purifying practices: how consumers assemble romantic experiences of nature. Journal of Consumer Research, 39 (5), 1051–1069. https://doi.org/10.1086/667202

Cantor, M., Chimento, M., Smeele, S. Q., He, P., Papageorgiou, D., Aplin, L. M., & Farine, D. R. (2021). Social network architecture and the tempo of cumulative cultural evolution. Proceedings of the Royal Society B, 288 (1946), 20203107.

Article   PubMed   PubMed Central   Google Scholar  

Cayaban, C. J. G., Prasetyo, Y. T., Persada, S. F., Mariñas, K. A., Nadlifatin, R., Borres, R. D., & Gumasing, M. J. J. (2023). Factors affecting filipino consumer behavior with Korean products and services: an extended theory of planned behavior approach. Sustainability, 15 (5), 4477. https://doi.org/10.3390/su15054477

Chen, S. X., Benet-Martínez, V., Wu, W. C. H., Lam, B. C. P., & Bond, M. H. (2013). The role of dialectical self and bicultural identity integration in psychological adjustment. Journal of Personality, 81 (1), 61–75. https://doi.org/10.1111/j.1467-6494.2012.00791

Article   PubMed   Google Scholar  

Chimento, M., Barrett, B. J., Kandler, A., & Aplin, L. M. (2022). Cultural diffusion dynamics depend on behavioural production rules. Proceedings of the Royal Society B, 289 (1980), 20221001. https://doi.org/10.1098/rspb.2022.1001 .

Choi, J. (2017). The study on the strategies of beauty influencer marketing: Mass media vs. social media. The Korean Journal of Advertising, 28 (4), 46–72.

Choi, W., & Lee, Y. (2019). Effects of fashion vlogger attributes on product attitude and content sharing. Fashion and Textiles, 6 (1), Article 6. https://doi.org/10.1186/s40691-018-0161-1 .

Choi, S. Y., Jo, J., Lee, Y., Ha, J., & Lee, J. (2022). A cross-cultural study of the proximity of clothing to self between millennial women in South Korea and Mongolia. Fashion and Textiles, 9 (1), 1–23. https://doi.org/10.1186/s40691-022-00291-y .

Choo, H. J. (2019). Introduction to special collection: collaborating with technology to sell fashion. Fashion and Textiles, 6 (1), 1–3.

Choo, H. J., Jang, J. Y., Baek, E., Lee, H. K., & Kim, H. (2022). A Study on the Multidimensional Consumption Value of Vietnamese MZ Generation -Focusing on the Relationship between Consumption Value Factors, Demographic Characteristics, and Global Consumption Propensity-. Journal of the Korean Society of Clothing and Textiles, 46 (5). 848–867. https://doi.org/10.5850/JKSCT.2022.46.5.848 .

Cleveland, M. (2018). Acculturation to the global consumer culture: ten years after and agenda for the next decade. Journal of Global Scholars of Marketing Science, 28 (3), 257–271. https://doi.org/10.1080/21639159.2018.1466656

Cleveland, M., Laroche, M., Pons, F., & Kastoun, R. (2009). Acculturation and consumption: textures of cultural adaptation. International Journal of Intercultural Relations, 33 (3), 196–212. https://doi.org/10.1016/j.ijintrel.2008.12.008

Collier, S. J. (2009). Topologies of power: Foucault’s analysis of political government beyond ‘governmentality’. Theory, culture & society, 26 (6), 78–108. https://doi.org/10.1177/0263276409347694 .

Colucci, M., & Pedroni, M. (2021). Got to be real: an investigation into the co-fabrication of authenticity by fashion companies and digital influencers. Journal of Consumer Culture, 22 (4), 929–948. https://doi.org/10.1177/14695405211033665

Corciolani, M., Grayson, K., & Humphreys, A. (2020). Do more experienced critics review differently?: how field-specific cultural capital influences the judgments of cultural intermediaries. European Journal of Marketing, 54 (3), 478–510. https://doi.org/10.1108/EJM-01-2019-0095

Corner, J. L., & Kirkwood, C. W. (1991). Decision analysis applications in the operations research literature, 1970–1989. Operations Research, 39 (2), 206–219.

Cruz Dela, F. A., Padilla, G. V., & Agustin, E. O. (2000). Adapting a measure of acculturation for cross-cultural research. Journal of Transcultural Nursing: Official Journal of the Transcultural Nursing Society, 11 (3), 191–198. https://doi.org/10.1177/104365960001100305

Decision Lab. (2020). The connected consumer. Decision Lab . https://doi.org/10.1007/978-1-137-51027-3_10

Derex, M., Beugin, M. P., Godelle, B., & Raymond, M. (2013). Experimental evidence for the influence of group size on cultural complexity. Nature, 503 (7476), 389–391.

Article   CAS   PubMed   Google Scholar  

Epp, A. M., Schau, H. J., & Price, L. L. (2014). The role of brands and mediating technologies in assembling long-distance family practices. Journal of Marketing, 78 (3), 81–101. https://doi.org/10.1509/jm.12.0196

Fay, N., de Kleine, N., Walker, B., & Caldwell, C. A. (2019). Increasing population size can inhibit cumulative cultural evolution. Proceedings of the National Academy of Sciences of the United States of America, 116 (14), 6726–6731. https://doi.org/10.1073/pnas.1811413116

Feng, Y., Chen, H., & Kong, Q. (2020). An expert with whom I can identify: the role of narratives in influencer marketing. International Journal of Advertising, 40 (7), 972–993. https://doi.org/10.1080/02650487.2020.1824751

Fishbein, M., & Ajzen, I. (2010). Predicting and changing behavior: The reasoned action approach . Psychology Press, Taylor & Francis Group.

Forbush, E., & Foucault-Welles, B. (2016). Social media use and adaptation among Chinese students beginning to study in the United States. International Journal of Intercultural Relations, 50 , 1–12. https://doi.org/10.1016/j.ijintrel.2015.10.007

Friedman, M., & Saroglou, V. (2010). Religiosity, psychological acculturation to the host culture, self-esteem and depressive symptoms among stigmatized and nonstigmatized religious immigrant groups in Western Europe. Basic and Applied Social Psychology, 32 (2), 185–195. https://doi.org/10.1080/01973531003738387

Froese, F. J. (2010). Acculturation experiences in Korea and Japan. Culture & Psychology, 16 (3), 333–348. https://doi.org/10.1177/1354067X10371138

García-Gutiérrez, M. S., Navarrete, F., Gasparyan, A., Austrich-Olivares, A., Sala, F., & Manzanares, J. (2020). Cannabidiol: a potential new alternative for the treatment of anxiety, depression, and psychotic disorders. Biomolecules, 10 (11), 1575. https://doi.org/10.3390/biom10111575

Gentina, E., Palan, K. M., & Fosse-Gomez, M. H. (2012). The practice of using makeup: a consumption ritual of adolescent girls. Journal of Consumer Behaviour, 11 (2), 115–123. https://doi.org/10.1002/cb.387

Giddens, A. (1984). Elements of the theory of structuration . Routledge.

Giesler, M., & Thompson, C. J. (2016). A tutorial in consumer research: Process theorization in cultural consumer research. Journal of Consumer Research, 43 (4), 497–508. https://doi.org/10.1093/jcr/ucw047 .

Glaveanu, V. P., Hanchett Hanson, M., Baer, J., Barbot, B., Clapp, E. P., Corazza, G. E., & Sternberg, R. J. (2020). Advancing creativity theory and research: a socio-cultural manifesto. The Journal of Creative Behavior, 54 (3), 741–745. https://doi.org/10.1002/jocb.395

Gwak, G. B., & Kim, S. (2021). A study on Korean fashion style expressed in youtube content. The Research Journal of the Costume Culture, 29 (2), 289–306. https://doi.org/10.5850/jksct.2012.36.2.165

Ham, M., & Lee, S. W. (2020). Factors affecting the popularity of video content on live-streaming services: focusing on V live, the Korean live-streaming service. Sustainability, 12 (5), 1–17. https://doi.org/10.3390/su12051784

Hasenjager, M. J., Leadbeater, E., & Hoppitt, W. (2021). Detecting and quantifying social transmission using network-based diffusion analysis. Journal of Animal Ecology, 90 (1), 8–26. https://doi.org/10.1111/1365-2656.13307

Haugsevje, Å. D., Stavrum, H., Heian, M. T., & Leikvoll, G. K. A. (2022). Bridging, nudging and translating: facilitators of local creative industries in Norway. International Journal of Cultural Policy, 28 (1), 74–88.

Henrich, J. (2004). Demography and cultural evolution: how adaptive cultural processes can produce maladaptive losses—the Tasmanian case. American Antiquity, 69 , 197–214. https://doi.org/10.2307/4128416

Hesmondhalgh, D. (2006). Bourdieu, the media and cultural production. Media, Culture & Society, 28 (2), 211–231. https://doi.org/10.1177/0163443706061682

Hofstede Insights, Country comparison., https://www.hofstede-insights.com/country-comparison/ (2020).

Hong, S., & Kim, C. H. (2013). Surfing the Korean wave: a postcolonial critique of the mythologized middlebrow consumer culture in Asia. Qualitative Market Research: An International Journal, 16 (1), 53–75. https://doi.org/10.1108/13522751311289767

Hui A, Schatzki T, Shove E. (2016). The nexus of practices: Connections, constellations, practitioners. The Nexus of Practices: Connections. Constellations, Practitioners.

Hurt, M. W. (2022). Tracking the Korean Style. Here Comes the Flood: Perspectives of Gender, Sexuality, and Stereotype in the Korean Wave, 15.

Jang, H., Nguyen, N. T. O., & Kwon, S. H. (2021). Women’s empowerment and transnational consumption of Hallyu in Vietnam. Asian Journal of Women’s Studies, 27 (2), 184–207. https://doi.org/10.1080/12259276.2021.1924482 .

Janiszewski, C. (1993). Preattentive mere exposure effects. Journal of Consumer research, 20 (3), 376–392. https://doi.org/10.1086/209356 .

Jun, S., & Gentry, J. W. (2005). An exploratory investigation of the relative importance of cultural similarity and personal fit in the selection and performance of expatriates. Journal of World Business, 40 (1), 1–8. https://doi.org/10.1016/j.jwb.2004.10.001

Jung, J., & Lee, S. H. (2006). Cross-cultural comparisons of appearance self-schema, body image, self-esteem, and dieting behavior between Korean and US women. Family and Consumer Sciences Research Journal, 34 (4), 350–365. https://doi.org/10.1177/1077727X06286419

Kang, Y., Lee, H. K., & Kim, W. B. (2020). A qualitative study on acceptance of Korean wave culture and internalization of ideal beauty among Vietnamese female students in Korea. Fashion and Textile Research Journal, 22 (4), 456–468. https://doi.org/10.5805/SFTI.2020.22.4.456

Karsai, M., Iñiguez, G., Kikas, R., Kaski, K., & Kertész, J. (2016). Local cascades induced global contagion: How heterogeneous thresholds, exogenous effects, and unconcerned behavior govern online adoption spreading. Scientific reports, 6 (1), 1–10. https://doi.org/10.1038/srep27178

Kaufman, J., & Patterson, O. (2005). Cross-national cultural diffusion: the global spread of cricket. American Sociological Review, 70 (1), 82–110. https://doi.org/10.1177/000312240507000105

Khan, M. L. (2017). Social media engagement: what motivates user participation and consumption on YouTube? Computers in Human Behavior, 66 , 236–247. https://doi.org/10.1016/j.chb.2016.09.024

Khan, M. S. H., Abdou, B. O., Kettunen, J., & Gregory, S. (2019). A phenomenographic research study of students’ conceptions of mobile learning: an example from higher education. SAGE Open, 9 (3), 215824401986145.

Ki, C. W. C., & Kim, Y. K. (2019). The mechanism by which social media influencers persuade consumers: the role of consumers’ desire to mimic. Psychology & Marketing, 36 (10), 905–922.

Kiger, M. E., & Varpio, L. (2020). Thematic analysis of qualitative data: AMEE Guide No. 131. Medical Teacher, 42 (8), 846–854. https://doi.org/10.1080/0142159X.2020.1755030

Kim, S. (2022). What factors encourage the acceptance of cosmetic surgery? Differences in sociopsychological influences contingent upon cosmetic surgery experience. Fashion and Textiles, 9 (1), 1–28. https://doi.org/10.1186/s40691-022-00318-4

Kim, H., Ahn, S. K., & Forney, J. A. (2014). Shifting paradigms for fashion: from total to global to smart consumer experience. Fashion and Textiles, 1 (1), 1–16.

Kim, S. M., & Park, M. J. (2020). Evaluation of cross-national global market segmentation and strategy: the case of Korean Wave for ASEAN countries. Asia Pacific Management Review, 25 (4), 207–215. https://doi.org/10.1016/j.apmrv.2020.04.001

Kinnunen, J. (1996). Gabriel tarde as a founding father of innovation diffusion research. Acta Sociologica, 39 (4), 431–442. https://doi.org/10.1177/000169939603900404

Kizgin, H., Dey, B. L., Dwivedi, Y. K., Hughes, L., Jamal, A., Jones, P., & Williams, M. D. (2020). The impact of social media on consumer acculturation: current challenges, opportunities, and an agenda for research and practice. International Journal of Information Management, 51 , Article 102026.

Kizgin, H., Jamal, A., Rana, N., Dwivedi, Y., & Weerakkody, V. (2019). The impact of social networking sites on socialization and political engagement: role of acculturation. Technological Forecasting and Social Change, 145 , 503–512. https://doi.org/10.1016/j.techfore.2018.09.010

Korea Creative Content Agency (KOCCA). (2020). Content industry trend of Vietnam. Vol. 12. Korea Creative Content Agency. https://www.notion.sofile:///C:/Users/user/Downloads/(%EB%B2%A0%ED%8A%B8%EB%82%A8%202020%EB%85%84%202%ED%98%B8)%20%EB%B2%A0%ED%8A%B8%EB%82%A8%20%EB%89%B4%EC%BD%98%ED%85%90%EC%B8%A0%20%ED%8A%B8%EB%A0%8C%EB%93%9C%20%EB%B0%8F%20%ED%98%91%EB%A0%A5%EB%B0%A9%ED%96%A5.pdf .

Korean Foundation for International Cultural Exchange (KOFICE). (2020). Diagnosing the present and future of Hallyu across the world – Global Hallyu Trends. Korean Foundation for International Cultural Exchange. http://eng.kofice.or.kr/data/%5bKOFICE%5d%202020%20Global%20Hallyu%20Trends.pdf .

Korean Foundation for International Cultural Exchange. (2021). Global Hallyu Trends –Handbook on the analysis of major issues in Hallyu and regional trends throughout 2021. Korean Foundation for International Cultural Exchange. http://eng.kofice.or.kr/z99_include/filedown1.asp?filename=2021%20Global%20Hallyu%20Trends(1).pdf .

Korea International Trade Association (KITA). (2020). Beauty industry in Vietnam in 2020. Korea International Trade Association. https://www.kita.net/cmmrcInfo/rsrchReprt/ovseaMrktReprt/ovseaMrktReprtDetail.do?pageIndex=1&no=8637&classification=6%20&type=1&query=%EB%B2%A0%ED%8A%B8%EB%82%A8,%20%ED%99%94%EC%9E%A5%ED%92%88%EC%82%B0%EC%97%85,%20%EC%A0%84%EB%A7%9D .

Kotra, K. K. (2020). Vietnam Investment News. Kotra, 717 , 2020–2022.

Kotra. (2021). YouTube, the most popular social media platform in Vietnam. https://news.kotra.or.kr/user/globalBbs/kotranews/782/globalBbsDataView.do?setIdx=243&dataIdx=189244 .

Kraidy, M. M. (2002). Hybridity in cultural globalization. Communication Theory, 12 (3), 316–339. https://doi.org/10.1111/j.1468-2885.2002.tb00272.x

Kroeber, A. L. (1940). Stimulus diffusion. American Anthropologist, 42 (1), 1–20. https://doi.org/10.1525/aa.1940.42.1.02a00020

Kwak, J. H., & Yoh, E. (2021). Effect of influencers' characteristics and consumer need satisfaction on attachment to influencer, content flow and purchase intention. Journal of the Korean Society of Clothing and Textiles, 45 (1), 56–72. https://doi.org/10.5850/jksct.2021.45.1.56 .

Lee, M., & Lee, H. H. (2019). Effects of celebrities' social media pressure on internalization and muscularity dissatisfaction amongmen. Journal of the Korean Society of Clothing and Textiles, 43 (4), 549–561. https://doi.org/10.5850/JKSCT.2019.43.4.549 .

Lee, B., Ham, S., & Kim, D. (2015). The effects of likability of Korean celebrities, dramas, and music on preferences for Korean restaurants: a mediating effect of a country image of Korea. International Journal of Hospitality Management, 46 , 200–212. https://doi.org/10.1016/j.ijhm.2014.05.012

Lee, H. K. (2003). Gender, migration and civil activism in South Korea. Asian and Pacific Migration Journal, 12 (1–2), 127–153. https://doi.org/10.1177/011719680301200106

Lee, H., Chae, M. S., & Lew, Y. K. (2020). The application of categorization and stereotype content theories to country of origin image: vietnamese perceptions towards Korean wave brands. Asia Pacific Business Review, 26 (3), 336–361. https://doi.org/10.1080/13602381.2019.1630199

Lee, J. H. (2015). A study on Korea country image and cosmetics brand image in Vietnam market by the Korean wave. International Commerce and Information Review, 17 (3), 73–91. https://doi.org/10.15798/KAICI.17.3.201509.73

Lee, M., & Lee, H. H. (2022). Do parasocial interactions and vicarious experiences in the beauty youtube channels promote consumer purchase intention? International Journal of Consumer Studies, 46 (1), 235–248. https://doi.org/10.1111/ijcs.12667

Lee, S. H., Choi, S., & Kim, H. W. (2021). Unveiling the success factors of BTS: a mixed-methods approach. Internet Research, 31 (5), 1518–1540. https://doi.org/10.1108/INTR-12-2019-0507

Lee, S. J., & Lee, S. B. (2018). Diffusion strategies for K-beauty Hallyu contents on YouTube. GRI Review, 20 (3), 231–259.

Lee, Y. K. (2020). The relationship between green country image, green trust, and purchase intention of Korean products: focusing on Vietnamese Gen Z consumers. Sustainability, 12 (12), 5098. https://doi.org/10.3390/su12125098

Lewitt, P. (1998). Social remittances: migration driven local-level forms of cultural diffusion. International Migration Review, 32 (4), 926–948. https://doi.org/10.2307/2547666

Li, Y. (2003). Heritage tourism: the contradictions between conservation and change. Tourism and Hospitality Research, 4 (3), 247–261.

Lian, S. (2011). Innovative internet video consuming based on media analysis techniques. Electronic Commerce Research, 11 (1), 75–89. https://doi.org/10.1007/s10660-010-9066-9

Lonergan, P. P., Patterson, M., & Lichrou, M. (2018). More than clothes hangers: cultural intermediaries in the field of fashion. European Journal of Marketing, 52 (9/10), 2052–2074.

Lou, C., & Yuan, S. (2019). Influencer marketing: how message value and credibility affect consumer trust of branded content on social media. Journal of Interactive Advertising, 19 (1), 58–73. https://doi.org/10.1080/15252019.2018.1533501

Macnamara, J., & Crawford, R. (2013). The construction of Australia day: a study of public relations as “new cultural intermediaries.” Continuum, 27 (2), 294–310. https://doi.org/10.1080/10304312.2013.766311

Mai, T.T.N. (2019). An investigation into the relationship between materialism and green purchase behavior in Vietnam andTaiwan. Journal of Economics and Development, 21 (2), 247–258. https://doi.org/10.1108/jed-10-2019-0044 .

Masuda, H., Han, S. H., & Lee, J. (2022). Impacts of influencer attributes on purchase intentions in social media influencer marketing: mediating roles of characterizations. Technological Forecasting and Social Change . https://doi.org/10.1016/j.techfore.2021.121246

Matera, C., Stefanile, C., & Brown, R. (2012). Host culture adoption or intercultural contact? Comparing different acculturation conceptualizations and their effects on host members’ attitudes towards immigrants. International Journal of Intercultural Relations, 36 (4), 459–471. https://doi.org/10.1016/j.ijintrel.2012.03.002

Mergel, I. (2013). Social media adoption and resulting tactics in the US federal government. Government Information Quarterly, 30 (2), 123–130.

Michael, S. R. (2004). Consumer behavior: buying. Having, and Being, Upper Saddle River, NJ, Great Britain: Pearson Prentice Hall., 6 , 570.

Min, J. H. J., Chang, H. J. J., Jai, T. M. C., & Ziegler, M. (2019). The effects of celebrity-brand congruence and publicity on consumer attitudes and buying behavior. Fashion and Textiles, 6 (1), 1–19.

Nguyen, H. Y. (2022). Vietnamese scholars and their perception of the west in the second half of the nineteenth century: the cases of Nguyễn Văn Siêu, Nguyễn Tư Giản, and Đặng Huy Trứ. Sungkyun Journal of East Asian Studies, 22 (2), 183–205.

Nguyen, P. A. (2004). Pursuing success in present-day vietnam: young graduates in Hanoi. In D. McCargo (Ed.), Rethinking vietnam. Routledge.

Park, H. S., Simon, A., & Kazimoto, P. (2021). University students’ perceptions of Korean wave and its impact on their views of Korea and Korean culture. Human Behavior, Development & Society, 22 (1), 157-190

Pemberton, H. E. (1936). The curve of culture diffusion rate. American Sociological Review, 1 (4), 547–556. https://doi.org/10.2307/2084831

Phipps, M., & Ozanne, J. L. (2017). Routines disrupted: reestablishing security through practice alignment. Journal of Consumer Research, 44 (2), 361–380.

Polese, F. (2009). The influence of networking culture and social relationships on value creation in quaderni di sinergie, “firms’ management: processes. Networks and Value, 16 , 193–215.

Powell, A., Shennan, S., & Thomas, M. G. (2009). Late pleistocene demography and the appearance of modern human behavior. Science, 324 , 1298–1301. https://doi.org/10.1126/science.1170165

Q&ME (2020). Vietnamese youth lifestyle (2020) Asia Plus Inc. Asia Plus Inc

Robinson, M. (1999). Collaboration and cultural consent: refocusing sustainable tourism. Journal of Sustainable Tourism, 7 (3), 379–397. https://doi.org/10.1080/09669589908667345

Rodriguez, S. (2013). Making sense of social change: observing collective action in networked cultures. Sociology Compass, 7 (12), 1053–1064. https://doi.org/10.1111/soc4.12088

Rogers, E. M. (2010). Diffusion of innovations. Free Press . https://doi.org/10.4324/9780203932445-8

Rudmin, F. W. (2010). Phenomenology of acculturation: retrospective reports from the Philippines, Japan, Quebec, and Norway. Culture and Psychology, 16 (3), 313–332. https://doi.org/10.1177/1354067X10371139

Ryoo, W. (2009). Globalization, or the logic of cultural hybridization: the case of the Korean wave. Asian Journal of Communication, 19 (2), 137–151. https://doi.org/10.1080/01292980902826427

Samuel Craig, C. S., Douglas, S. P., & Bennett, A. (2009). Contextual and cultural factors underlying Americanization. International Marketing Review, 26 (1), 90–109. https://doi.org/10.1108/02651330910933212

Schatzki, T. R. (1996). Social practices: a wittgensteinian approach to human activity and the social . Cambridge: Cambridge University Press.

Schatzki, T. R. (2019). Social change in a material world. Routledge. https://doi.org/10.4324/9780429032127

Scholz, J. (2021). How consumers consume social media influence. Journal of Advertising, 50 (5), 510–527. https://doi.org/10.1080/00913367.2021.1980472

Schouten, A. P., Janssen, L., & Verspaget, M. (2020). Celebrity vs. influencer endorsements in advertising: the role of identification, credibility, and product-endorser fit. International Journal of Advertising, 39 (2), 258–281. https://doi.org/10.1080/02650487.2019.1634898

Seregina, A., & Weijo, H. A. (2017). Play at any cost: how cosplayers produce and sustain their ludic communal consumption experiences. Journal of Consumer Research, 44 (1), 139–159. https://doi.org/10.1093/jcr/ucw077

Shan, Y., Chen, K. J., & Lin, J. (2020). When social media influencers endorse brands: the effects of self-influencer congruence, parasocial identification, and perceived endorser motive. International Journal of Advertising, 39 (5), 590–610. https://doi.org/10.1080/02650487.2019.1678322

Shen, Z. (2021). A persuasive eWOM model for increasing consumer engagement on social media: evidence from Irish fashion micro-influencers. Journal of Research in Interactive Marketing, 15 (2), 181–199. https://doi.org/10.1108/JRIM-10-2019-0161

Shifman, L. (2012). An anatomy of a youtube meme. New Media and Society, 14 (2), 187–203. https://doi.org/10.1177/1461444811412160

Shove, E., Watson, M., & Pantzar, M. (2012). The dynamics of social practice: everyday life and how it changes. The Dynamics of Social Practice . https://doi.org/10.4135/9781446250655n1

Smith, S. P. (2006). Online vicarious-experience: using technology to help consumers evaluate physical products over the internet . Melbourne: The University of Melbourne.

Sokolova, K., & Kefi, H. (2020). Instagram and YouTube bloggers promote it, why should I buy? How credibility and parasocial interaction influence purchase intentions. Journal of Retailing and Consumer Services . https://doi.org/10.1016/j.jretconser.2019.01.011

Steenkamp, J. B. E., Ter Hofstede, F., & Wedel, M. (1999). A cross-national investigation into the individual and national cultural antecedents of consumer innovativeness. Journal of Marketing, 63 (2), 55–69. https://doi.org/10.1177/002224299906300204

Tafesse, W., & Wood, B. P. (2021). Followers’ engagement with Instagram influencers: the role of influencers’ content and engagement strategy. Journal of Retailing and Consumer Services . https://doi.org/10.1016/j.jretconser.2020.102303

Thomas, T. C., & Epp, A. M. (2019). The best laid plans: why new parents fail to habituate practices. Journal of Consumer Research, 46 (3), 564–589. https://doi.org/10.1093/jcr/ucz003

Tipgomut, P., Paas, L. J., & McNaught, A. (2022). Beauty types of female advertising models in Asia. International Journal of Market Research, 64 (6), 799–821. https://doi.org/10.1177/14707853211055054

Tolbert, A. N., & Drogos, K. L. (2019). Tweens’ wishful identification and parasocial relationships with YOUTUBERs. Frontiers in Psychology, 10 (December), 2781. https://doi.org/10.3389/fpsyg.2019.02781

Tomasello, M. (1999). The human adaptation for culture. Annu. Rev. Anthrop., 28 , 509–529. https://doi.org/10.1146/annurev.anthro.28.1.509

Tran, V. D., & Nguyen, H. A. T. (2020). Consumer attitudes towards beauty bloggers and paid blog advertisements on purchase intention in Vietnam. Management Science Letters, 10 (5), 1017–1026. https://doi.org/10.5267/j.msl.2019.11.008

Truong, N. X. (2018). The impact of Hallyu 4.0 and social media on Korean products purchase decision of generation C in Vietnam. Journal of Asian Finance, Economics and Business, 5 (3), 81–93. https://doi.org/10.1310/jafeb.2018.vol5.no3.81

Truong, N. X. (2019). Factors impacting on Korean consumer goods purchase decision of vietnam’s generation Z. Journal of Distribution Science, 17 (10), 61–71. https://doi.org/10.1572/jds.17.10.201910.61

Tse, T., Shin, V., & Tsang, L. T. (2020). From Shanzhai chic to Gangnam style: seven practices of cultural-economic mediation in China and Korea. Journal of Cultural Economy, 13 (5), 511–530.

Un, P. S. (2007). “Beauty will save you”: the myth and ritual of dieting in Korean society. Korea Journal, 47 (2), 41–70.

Vahie, A., & Paswan, A. (2006). Private label brand image: Its relationship with store image and national brand. International Journal of Retail & Distribution Management, 34 (1), 67–84. https://doi.org/10.1108/09590550610642828

Van Dijk, T. A. (Ed.). (1997). Discourse as structure and process (Vol. 1). Sage. https://doi.org/10.25115/oralia.v1i1.8308

Vuong, B. N., & Khanh Giao, H. N. (2020). The impact of perceived brand globalness on consumers’ purchase intention and the moderating role of consumer ethnocentrism: an evidence from Vietnam. Journal of International Consumer Marketing, 32 (1), 47–68.

Wang, L., & Lee, J. H. (2021). The impact of K-beauty social media influencers, sponsorship, and product exposure on consumer acceptance of new products. Fashion and Textiles . https://doi.org/10.1186/s40691-020-00239-0 .

Article   PubMed Central   Google Scholar  

Whiten, A., Caldwell, C. A., & Mesoudi, A. (2016). Cultural diffusion in humans and other animals. Current Opinion in Psychology, 8 , 15–21. https://doi.org/10.1016/j.copsyc.2015.09.002

Wiseman, R. L., Hammer, M. R., & Nishida, H. (1989). Predictors of intercultural communication competence. International Journal of Intercultural Relations, 13 (3), 349–370. https://doi.org/10.1016/0147-1767(89)90017-5

Xu, W. W., Park, J. Y., Kim, J. Y., & Park, H. W. (2016). Networked cultural diffusion and creation on YouTube: an analysis of YouTube memes. Journal of Broadcasting and Electronic Media, 60 (1), 104–122. https://doi.org/10.1080/08838151.2015.1127241

Xu, W. W., Park, J. Y., & Park, H. W. (2015). The networked cultural diffusion of Korean wave. Online Information Review, 39 (1), 43–60. https://doi.org/10.1108/OIR-07-2014-0160

Yan, K., & Berliner, D. C. (2011). Chinese international students in the United States: demographic trends, motivations, acculturation features and adjustment challenges. Asia Pacific Education Review, 12 (2), 173–184.

Yu, H. K. (2016). Images of K-beauty and Korean cosmetic brands perceived by Vietnamese women. A Journal of Brand Design Association of Korea, 14 (3), 219–230.

Zambrano, J., Kirschner, F., Sweller, J., & Kirschner, P. A. (2019). Effects of group experience and information distribution on collaborative learning. Instructional Science, 47 , 531–550.

Zappettini, F. (2014). Networked identities. Critical Discourse Studies, 11 (4), 397–415.

Zheng, L., & Zheng, T. (2014). Innovation through social media in the public sector: information and interactions. Government Information Quarterly, 31 , S106–S117. https://doi.org/10.1016/j.giq.2014.01.011

Download references

Acknowledgements

This research was conducted under the approval and supervision of Seoul National University Institutional Review Board (IRB Approval No: 2101-003-001).

Authors' information

HK is a doctoral candidate at Seoul National University, currently focusing on her doctoral thesis. With a background in merchandising in the home-shopping industry, she has a keen interest in luxury consumption, social data analysis, and the Vietnamese consumer market, among other areas of study.

Dr. HJC is a Professor of Fashion and Textiles at Seoul National University, South Korea. She earned her doctorate at Michigan State University and previously worked in fashion consulting. HJC leads the Fashion Marketing Lab and Center for Living & Retailing at Seoul National University.

This work was supported by the National Research Foundation of Korea (NRF) grant funded by the Korea government (the Ministry of Education) (No. 2020S1A5A2A03).

Author information

Authors and affiliations.

Department Fashion & Textiles, College of Human Ecology, Seoul National University, #222-303, 1 Gwanak-Ro, Gwanak-Gu, Seoul, 08826, Republic of Korea

Department Fashion & Textiles, College of Human Ecology, Seoul National University, #222-207, 1 Gwanak-Ro, Gwanak-Gu, Seoul, 08826, Republic of Korea

Ho Jung Choo

You can also search for this author in PubMed   Google Scholar

Contributions

Both of authors developed the conceptual approach as well as analyzed data. HK mainly collected data collection, and developed the results and conclusion. HJC modified research framework, supported to improve overall research design, and interpreted results. Both authors contributed to the formatting and editing of the manuscript. Both authors read and approved the final manuscript.

Corresponding author

Correspondence to Ho Jung Choo .

Ethics declarations

Competing interests.

The authors declare that they have no competing interests.

Additional information

Publisher's note.

Springer Nature remains neutral with regard to jurisdictional claims in published maps and institutional affiliations.

Supplementary Information

Additional file [1]:.

 Summary of Korean-Related Videos Analyzed Among Top-Viewed Vietnamese Influencers’ contents.

Rights and permissions

Open Access This article is licensed under a Creative Commons Attribution 4.0 International License, which permits use, sharing, adaptation, distribution and reproduction in any medium or format, as long as you give appropriate credit to the original author(s) and the source, provide a link to the Creative Commons licence, and indicate if changes were made. The images or other third party material in this article are included in the article's Creative Commons licence, unless indicated otherwise in a credit line to the material. If material is not included in the article's Creative Commons licence and your intended use is not permitted by statutory regulation or exceeds the permitted use, you will need to obtain permission directly from the copyright holder. To view a copy of this licence, visit http://creativecommons.org/licenses/by/4.0/ .

Reprints and permissions

About this article

Cite this article.

Kim, H., Choo, H.J. How “K-Style” has influenced the younger generation through local Vietnamese influencers. Fash Text 10 , 40 (2023). https://doi.org/10.1186/s40691-023-00359-3

Download citation

Received : 27 December 2022

Accepted : 14 September 2023

Published : 25 October 2023

DOI : https://doi.org/10.1186/s40691-023-00359-3

Share this article

Anyone you share the following link with will be able to read this content:

Sorry, a shareable link is not currently available for this article.

Provided by the Springer Nature SharedIt content-sharing initiative

• Acculturation
• Practice theory
• Korean wave (Hallyu)
• The Vietnamese market

• Bibliography
• More Referencing guides Blog Automated transliteration Relevant bibliographies by topics
• Automated transliteration
• Relevant bibliographies by topics
• Referencing guides

A beginner’s guide to K-pop fashion stars—from Blackpink to New Jeans

Magnetic, globally captivating, and undeniably cool are all ways I’d describe K-pop . Though I didn’t come to the genre all on my own—I have to credit my cousins for making me watch Netflix’s documentary Blackpink : Light Up the Sky —since discovering it, I’ve developed a profound respect for all aspects of K-pop: the music, the culture around it, and especially that incredible K-pop style. These days all eyes are on everyone’s favourite K-pop stars, which means all eyes are on what they wear and what they do.

Before we dig into the niceties of K-pop fashion , here’s a little primer on the genre for those who are not yet totally obsessed. As intersectional as it is influential, K-pop, short for Korean pop, unites all aspects of music, art, and dance, fusing inspiration from all over the world. This planet-spanning approach has earned K-pop an equivalently global fandom, with the United States just the latest nation to jump on the bandwagon.

The origins of K-pop go back to the 1950s, pop music’s first heyday. The South Korean music group the Kim Sisters are believed to have laid the foundations, singing renditions of American hits to GIs during the Korean War. Word quickly spread about the group in the US, and soon they were signed by American producer Tom Ball.

In later decades, Korea set up its own hit factory. The indigenous industry can be broken down into three generations, with the first emerging in the 1990s. Boy group Seo Taiji and Boys meshed Korean and American pop music with hip-hop-inspired dance choreography. The group also wore designs inspired by American fashion and street style, helping introduce South Korea to US aesthetics. They were pioneers of K-pop as we know it now. HOT, a boy group also popular in the '90s, emulated the professionally trained skill, iconography, and style we see in the genre today. The band often rocked matching outfits, from head-to-toe leather to colourful oversized suits.

The first decade of the new millennium spawned the second generation of K-pop, composed of acts like Girls’ Generation, Apink, and TVXQ ( to name a few.) These groups too performed in matching stage outfits, but their style was relatively relaxed—a far cry from the grandeur and glitter K-pop is known for today. Second-gen group Wonder Girls, for example, sported street style clothes as seen in their “Tell Me” music video, and Girls’ Generation took to the stage in casual jean-tee combos, sporty sweatshirts , and skirts.

Today, the third generation of K-pop (2010 to present) reigns: Thanks to bands like BTS, Blackpink, and Twice, K-pop has entered its world-domination phase. Boy band BTS became the first K-pop group in history to be nominated for a Grammy in 2020, for their hit song “Dynamite” (which gained 12.6 million streams on Spotify on the first day of its release). Meanwhile, K-pop artists serve as global ambassadors to such luxury brands as Chanel , Fendi, and Loewe and launch new trends via their stage outfits and videos. Below, see some of the best looks from the biggest K-pop stars.

Blackpink made global headlines in 2019 after becoming the first all-female K-pop group to perform at Coachella. Its members sported black-and-silver stage outfits, with Lisa in a bejeweled halter-neck crop top and belted skirt and Jennie in a bandeau top, choker , and shorts with a glittery fringe skirt.

The group’s members are so renowned that they have served as ambassadors for many luxury brands: Lisa for Celine and Bulgari , Jennie for Chanel , Rosé for Yves Saint Laurent and Tiffany and Co., and Jisoo for Dior and Cartier. Rosé also became the first female K-pop icon to attend the Met Gala in 2021.

Before wooing the world and receiving a standing ovation for their performance at the 64th annual Grammys, BTS dazzled on the red carpet in head-to-toe Louis Vuitton . Member Jungkook posed in a yale blue set with a cropped band-collar jacket, baggy pants, and chunky black loafers.

In their “Dynamite” music video, BTS gave us their version of the best looks throughout the decades. Emulating ’90s heartthrobs, the band members rocked backward Kangol hats, oversized button-downs layered over white tees, and Canadian tuxedos while giving odes to Michael Jackson and ’NSync choreography. J-Hope sports one of the best looks of the video in ’70s-inspired head-to-toe Gucci : He wears a red leather button-down, jeans, and a black belt.

Perhaps the hottest new group on the scene, the quintet rose to fame for their catchy hits like “Super shy” and “Attention.” The girl group also broke the Guinness World Record for “Fastest K-pop act to reach 1 billion streams on Spotify” in May this year. New Jeans member Hanni was also appointed as Gucci's global brand ambassador in 2023.

In 2019, Twice posed for the South Korean show M Countdown in a range of galaxy-themed metallics. Alternating between wide-leg pants and miniskirts, the group channeled an out-of-this-world look filled with glimmer and shine.

During their performance of the song “The Feels” on The Tonight Show Starring Jimmy Fallon, Twice wore fashionable versions of sports jerseys and knee-high lace-up shoes, with Dahyun standing out wearing a white high-neck minidress layered with glittery fringe.

Twice’s Nayeon debuted her solo career with “Pop!” in June. As she defined her own voice with the song, she also debuted her individual style in the music video. Never a wallflower, Nayeon favors pops of colour, often wearing luxury brands and matching sets. In the video she rocks red-belted Prada jacquard mini shorts and a matching altered Champion top, as well as other major brands, like Louis Vuitton, Alexander McQueen , and Lirika Matoshi.

Solo artist and actor Lee Ji-eun, who goes by the stage name IU, has a sweet sense of style, exemplified by the off-the-shoulder gray gown she wore at the Cannes Film Festival in 2022.

Continuing to channel the schoolgirl-next-door look, IU wears an oversized cardigan with a crochet hat and a patterned pink dress layered over a white top in her “Strawberry Moon” music video. Similarly she wears a casual preppy look in her “Blueming” music video, with a purple knit cardigan layered over a white tee and beige trousers.

Always down to play with color, Momoland embraces each member’s individuality while sticking to a bright theme. For their performance at the 27th annual Dream Concert in South Korea, no two members looked the same, though the group wore all pastels.

Similarly in their “Yummy Yummy Love” music video, each member put their spin on a black-and-red theme. Group member Ahin wears a black halter top and black leather skirt with one side draped in red tulle , creating a half-dress look.

Another K-pop group that takes individual style to another level is Got7. At the 2018 Mnet Asian Music Awards, members displayed their take on red-carpet glam.

The opening scene of Got7’s “Nanana” music video also shows members flaunting individual dapper styles. Their looks range from yellow-orange ombré suits and patterned jacket-and-pants combos to brightly colored knit sweaters. BamBam was among the best dressed in a shredded pink tweed two-piece, complete with a cropped jacket, matching high-waist pants, and a simple black shirt underneath.

Boy band NCT 127 served nine shades of gray when promoting their fourth album, 2 Baddies , in 2022, making the case for in-sync dressing with their matching monochromatic ensembles—though it’s not the first time they’ve done so.

In the video for “Fact Check,” their most recent drop, members sport different iterations of all-white looks, with Yuta topping his baggy cargos with a cropped Moncler Genius vest. But NCT 127 doesn’t confine itself to coordinated styles, as proven by Johnny’s standout look: a semi- sheer mesh top from Charles Jeffrey Loverboy and a shimmery argyle suit atop.

Solo artist Chuu had her own break-the-internet moment when she was papped filming the music video for “Howl,” a song on her debut mini album. Carving out her own sound and style, the star stuck to a fairy-grunge aesthetic: a mix of fairycore and the well-known ‘90s style. My all-time favorite look from the video finds Chuu the ultimate Gen Z poster girl in Demonia platform boots and a Chopova Lowena tartan miniskirt.

This girl group has been churning out iconic looks since their 2014 debut. Just take the goth-tinged teaser imagery for their third album, Chill Kill , which earned Red Velvet the moniker concept queens from K-netizens.

And their music-video style is just as noteworthy. My personal highlights are Irene’s look in “Birthday,” pairing a brown baby tee and a camo miniskirt (both by Marc Jacobs Heaven), and Joy’s Vivienne Westwood corset top.

On the red carpet, these girls exemplify elegance—see the opulent black and white gowns they wore at this year’s Cannes Film Festival. But off the carpet? They have a Y2K aesthetic reminiscent of TLC’s “No Scrubs” or Britney Spears’s “Oops…I Did It Again.” In teasers for the album Drama , their style could be described as cybercore or futuristic Y2K . Nowadays, the aesthetic exhibited in these shoots would most likely be considered AI or metaverse adjacent, but I’ll call it what it is: iconic.

In their Kill Bill –style music video for the single “Drama,” the stars rock a collection of must-have pieces. Karina wears that viral Jean Paul Gaultier x Knwls pink fur-trimmed jacket, and Winter wears a logo-embossed long-sleeve bodysuit and spiral split-hem jeans—both Mugler.

Le Sserafim

Another girl group worth mentioning for their oh-so-fashionable taste: Le Sserafim. Apart from their color-coordinated stage looks, the stars make equally sensational statements with their online and street style . Their playful NBA Lakers look is a lesson in styling sportswear.

Le Sserafim makes another case for fashionable sportswear in their music video for “Perfect Night,” which dropped in collaboration with the video game Overwatch 2. As a fan of both the game and the fashion statements made in Le Sserafim’s music video, I’d say they nailed the brief, blending wearable real-life pieces (e.g., decorative ribbons and football jerseys rocked pantless ) with just as desirable in-game looks. K-pop is expanding its domination to the virtual world—and I’m not surprised!

This article first appeared on vogue.com

Jennie's knit sweater vest is surprisingly affordable

Why the sneakers worn by Blackpink's Lisa will dominate this fashion season

Rosé from Blackpink, Kim Kardashian, and more of the best dressed stars this week embraced the bodycon dress