Marketing and Development of K-pop under New Consumer Trends

Research Article
Open access

Marketing and Development of K-pop under New Consumer Trends

Canran Yang 1*
  • 1 School of Foreign Languages, South China Agricultural University, Guangzhou, China    
  • *corresponding author 202324110924@stu.scau.edu.cn
AEMPS Vol.186
ISSN (Print): 2754-1177
ISSN (Online): 2754-1169
ISBN (Print): 978-1-80590-153-2
ISBN (Online): 978-1-80590-154-9

Abstract

Originating in South Korea, K-pop has grown into a global cultural phenomenon over the past two decades, driven by its sophisticated idol system, high-performance aesthetics, and transmedia marketing. However, as global consumer behavior rapidly evolves, traditional strategies in the K-pop industry are increasingly challenged.This paper investigates the evolving marketing and development strategies of K-pop in response to new consumer trends. As Generation Z and Alpha dominate the global entertainment market, K-pop faces increasing challenges such as content homogenization, digital fatigue, and declining fan loyalty. In response, the industry is exploring innovations in idol production—including AI-driven and virtual models—value-based content creation, and participatory merchandise strategies. While these developments have helped maintain K-pop’s vitality, they also introduce new risks regarding authenticity, over-commercialization, and ethical fan engagement. Drawing from case studies and industry analysis, this paper argues that K-pop’s sustainable future lies in three core principles: emotional sustainability, narrative authenticity, and ethical co-creation. Only by balancing technological innovation with cultural depth and fan trust can K-pop evolve beyond a commercial trend into a globally resonant and responsible cultural force.

Keywords:

K-pop, New consumer trends, Idol production, Soft power, Merchandise strategies

Yang,C. (2025). Marketing and Development of K-pop under New Consumer Trends. Advances in Economics, Management and Political Sciences,186,17-22.
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References

[1]. Lee S, Nornes A M, eds. (2015) Hallyu 2.0: The Korean Wave in the Age of Social Media. Ann Arbor: University of Michigan Press.

[2]. Park J H. (2023) From cultural export to economic engine: examining the role of K-Pop in the growth of the South Korean economy. Open Journal of Business and Management,11(5): 2198-2214.

[3]. Ardhiyansyah A, Maharani D P, Sari S P, et al. (2021) K-pop marketing tactics that build fanatical behavior. Nusantara Science and Technology Proceedings, 66-70.

[4]. KONG Xiang, WU Jin-cao, ZHAO Yi-zheng. (2022) Production-consumption politics of K-pop idols from the perspective of commodity chain. Human Geography, 37(6): 81-87.

[5]. Lee G T. (2013) De-Nationalization and Re-Nationalization of Culture: The Globalization of K-pop. ProQuest Dissertations and Theses.

[6]. Chan Y. (2024) Beauty is Justice: Research on Stars Image Construction and Popularity Phenomenon Based on Korean K-POP Culture. Advances in Education, Humanities and Social Science Research, 12(1): 583-583.

[7]. Kovba, D. M. (2014). Theoretical and practical adaptation of the concept of "soft power” by the East Asian countries. Prostranstvo i vremia, 4(18), 111-118

[8]. Tan F T C, Ondrus J, Tan B, et al. (2020) Digital transformation of business ecosystems: Evidence from the Korean pop industry. Information Systems Journal, 30(5): 866-898.

[9]. Im Jin-mo. (2001) Bungeo eomneun bungeoppang-i jal pallyeo? (Carp Bread Without Carp. Does It Sell Well?). Munhwa Yondae (Cultural Action), 21.

[10]. Cho Hyejeong. (2005) Reading the" Korean Wave" as a sign of global shift. Korea Journal, 45(4): 147-182.

[11]. Andira N P, Prasetyo R A, Ananda A S. (2023) The impact of K-Pop idol on brand awareness, hedonic shopping motivation, and purchase intention. Kajian Branding Indonesia, 5(1): 1-15.

[12]. Kim Y J, Lee J, Lee M Y. (2018) Purchasing behavior of K-pop idol goods consumers in Korea. Journal of Fashion Business, 22(6): 1-13.

[13]. Jin D Y. (2016) New Korean Wave: Transnational Cultural Power in the Age of Social Media. Urbana: University of Illinois Press.

[14]. Kang I. (2023) The Rise of NewJeans and the Shift in K-pop’s Girl Group Aesthetic. Billboard Korea Review, 11(2): 15–22.

[15]. Kim H & Lee J. (2022) Virtual Idols and the Expansion of AI in K-pop: A Case Study of aespa. Asian Journal of Cultural Studies, 18(3): 47–62.

[16]. Choi J & Park S. (2024) Between Reality and Simulation: Understanding PLAVE and the Emergence of Digital Personhood in K-pop. Digital Culture & Society, 10(1): 63–78.

[17]. Oh I. (2013) Hallyu 2.0: The New Korean Wave in the Creative Industry. Korea Observer, 44(4): 389–409.

[18]. Shim D. (2006) Hybridity and the Rise of Korean Popular Culture in Asia. Media, Culture & Society, 28(1): 25–44.

[19]. Ko E, Kim S & Lee E. (2020) Cultural Marketing Strategy and K-pop: Expanding Global Soft Power through Emotional Branding. International Marketing Review, 37(1): 113–132.

[20]. Chen Y.​ (2023) Exploring the style of Korean girl group NewJeans in the context of contemporary consumerism/​/​SHS Web of Conferences.​ EDP Sciences, 174:​ 03024.​

[21]. Seo M.(2020) Beyond the Stage: K-pop Merchandise, Fan Economy and Cultural Commodification. Journal of Fandom Studies, 8(2): 119–134.

[22]. Kim J.(2022) Fan-designed Goods and Emotional Capital in Korean Idol Fandoms. Cultural Studies Review, 28(1): 85–100.

[23]. Park Y. (2024) From Cute to Iconic: Visual Identity and Cross-Community Appeal of K-pop Mascots. Journal of Popular Culture Studies, 12(1): 38–52.

Cite this article

Yang,C. (2025). Marketing and Development of K-pop under New Consumer Trends. Advances in Economics, Management and Political Sciences,186,17-22.

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The datasets used and/or analyzed during the current study will be available from the authors upon reasonable request.

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About volume

Volume title: Proceedings of ICMRED 2025 Symposium: Effective Communication as a Powerful Management Tool

ISBN：978-1-80590-153-2(Print) / 978-1-80590-154-9(Online)
Editor：Lukáš Vartiak
Conference website: https://2025.icmred.org/Bratislava.html
Conference date: 30 May 2025
Series: Advances in Economics, Management and Political Sciences
Volume number: Vol.186
ISSN：2754-1169(Print) / 2754-1177(Online)

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References

[1]. Lee S, Nornes A M, eds. (2015) Hallyu 2.0: The Korean Wave in the Age of Social Media. Ann Arbor: University of Michigan Press.

[2]. Park J H. (2023) From cultural export to economic engine: examining the role of K-Pop in the growth of the South Korean economy. Open Journal of Business and Management,11(5): 2198-2214.

[3]. Ardhiyansyah A, Maharani D P, Sari S P, et al. (2021) K-pop marketing tactics that build fanatical behavior. Nusantara Science and Technology Proceedings, 66-70.

[4]. KONG Xiang, WU Jin-cao, ZHAO Yi-zheng. (2022) Production-consumption politics of K-pop idols from the perspective of commodity chain. Human Geography, 37(6): 81-87.

[5]. Lee G T. (2013) De-Nationalization and Re-Nationalization of Culture: The Globalization of K-pop. ProQuest Dissertations and Theses.

[6]. Chan Y. (2024) Beauty is Justice: Research on Stars Image Construction and Popularity Phenomenon Based on Korean K-POP Culture. Advances in Education, Humanities and Social Science Research, 12(1): 583-583.

[7]. Kovba, D. M. (2014). Theoretical and practical adaptation of the concept of "soft power” by the East Asian countries. Prostranstvo i vremia, 4(18), 111-118

[8]. Tan F T C, Ondrus J, Tan B, et al. (2020) Digital transformation of business ecosystems: Evidence from the Korean pop industry. Information Systems Journal, 30(5): 866-898.

[9]. Im Jin-mo. (2001) Bungeo eomneun bungeoppang-i jal pallyeo? (Carp Bread Without Carp. Does It Sell Well?). Munhwa Yondae (Cultural Action), 21.

[10]. Cho Hyejeong. (2005) Reading the" Korean Wave" as a sign of global shift. Korea Journal, 45(4): 147-182.

[11]. Andira N P, Prasetyo R A, Ananda A S. (2023) The impact of K-Pop idol on brand awareness, hedonic shopping motivation, and purchase intention. Kajian Branding Indonesia, 5(1): 1-15.

[12]. Kim Y J, Lee J, Lee M Y. (2018) Purchasing behavior of K-pop idol goods consumers in Korea. Journal of Fashion Business, 22(6): 1-13.

[13]. Jin D Y. (2016) New Korean Wave: Transnational Cultural Power in the Age of Social Media. Urbana: University of Illinois Press.

[14]. Kang I. (2023) The Rise of NewJeans and the Shift in K-pop’s Girl Group Aesthetic. Billboard Korea Review, 11(2): 15–22.

[15]. Kim H & Lee J. (2022) Virtual Idols and the Expansion of AI in K-pop: A Case Study of aespa. Asian Journal of Cultural Studies, 18(3): 47–62.

[16]. Choi J & Park S. (2024) Between Reality and Simulation: Understanding PLAVE and the Emergence of Digital Personhood in K-pop. Digital Culture & Society, 10(1): 63–78.

[17]. Oh I. (2013) Hallyu 2.0: The New Korean Wave in the Creative Industry. Korea Observer, 44(4): 389–409.

[18]. Shim D. (2006) Hybridity and the Rise of Korean Popular Culture in Asia. Media, Culture & Society, 28(1): 25–44.

[19]. Ko E, Kim S & Lee E. (2020) Cultural Marketing Strategy and K-pop: Expanding Global Soft Power through Emotional Branding. International Marketing Review, 37(1): 113–132.

[20]. Chen Y.​ (2023) Exploring the style of Korean girl group NewJeans in the context of contemporary consumerism/​/​SHS Web of Conferences.​ EDP Sciences, 174:​ 03024.​

[21]. Seo M.(2020) Beyond the Stage: K-pop Merchandise, Fan Economy and Cultural Commodification. Journal of Fandom Studies, 8(2): 119–134.

[22]. Kim J.(2022) Fan-designed Goods and Emotional Capital in Korean Idol Fandoms. Cultural Studies Review, 28(1): 85–100.

[23]. Park Y. (2024) From Cute to Iconic: Visual Identity and Cross-Community Appeal of K-pop Mascots. Journal of Popular Culture Studies, 12(1): 38–52.

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