• Journal of Fashion Business
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• v.28 no.2
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• pp.33-49
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• 2024

Despite COVID-19 and the global economic depression, cosmetics exports are continuously increasing due to the growth of Hallyu consumption overseas. Thus, systematic research is needed to determine what impact Hallyu has on cosmetics. Many studies have been conducted on psychological distance, Hallyu preference, and the overall Korean product image, but research related to the image of cosmetics has been insufficient. AMOS 26.0 was used to empirically analyze the impact of cultural distance, social distance, and Hallyu preference on the national image and the impact of the country's image on the image of cosmetics among females experienced with Hallyu in Indonesia and Malaysia. The empirical analysis showed that cultural distance, social distance, and Hallyu preference had a positive effect on the national image, and the national image also had a positive effect on the image of cosmetics. Since Hallyu has a positive indirect effect on the image of cosmetics, it strengthens the competitiveness of cosmetics companies in overseas markets. In Indonesia, only cultural distance and Hallyu preference were found to affect the national image. However, in Malaysia, all variables affected the national image. Thus, even the same Hallyu content could have different effects on the national and cosmetic images in each country. Therefore, strategies for utilizing different Hallyu contents that are suitable for each country are needed to revitalize Korean cosmetics in overseas markets.

• The Journal of the Korea Contents Association
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• v.16 no.4
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• pp.153-169
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• 2016

This study aims to understand the background and characteristics of receiving Hallyu based on the cognitions and attitudes toward Korea and Korean culture in the Philippines. With the background of Business Hallyu and Cultural Hallyu between the two countries, this study conducted the Focus Group Discussion(FGI) research, literature research and analyzed the statistical resources. The economic and cultural exchanges between Korea and the Philippines have been increased by the effect of Hallyu, but the socio-cultural conflicts, such as Kopino issue, crimes related to Koreans have been also grown. Thus, the Hallyu research focused on the Philippines is necessary, and it will be a cruical variable to forecast the socio-cultural relationship between Korea and the Philippines. The FGI research recruited participants in both undergraduates in the Phillippines and the Filippino migrants in Korea. The FGI participants of each group shows the differences of cognitions, attitudes, and actions to consume Hallyu, and the participants of both groups agrees that experiences of contacting Koreans influence on understanding Korea and its culture. The FGI participants have tried to watching Korean dramas, learning Korean languages, and building relationships with Koreans in order to adjust Korean culture. In order to improve the relations between Korea and the Philipines, Hallyu needs to promote its values as the unique culture and also universal culture in the world. Korea should increase understanding of the Filippino culture to overcome cultural differences and make efforts on localize the Hallyu 3.0 in the Phillippines.

• The Journal of Asian Finance, Economics and Business
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• v.5 no.3
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• pp.81-93
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• 2018

This study developed and tested the impact of hallyu 4.0, social media, and consumer ethnocentrism on the decision to purchase Korean products of Generation C in Vietnam. Both qualitative and quantitative methodologies were utilized in this study. Qualitative research was first carried out with in-depth interview, conducted to derive measurement items for the interested constructs. Quantitative research used cross-sectional field design by pilot study and official study. The model was tested and developed using data collected by questionnaires, from a sample of 575 respondents, by both electronic and paper surveys with non-probability and convenience sampling techniques. SPSS 20 and AMOS 20 software were employed to analyze the data. The results of structural equation modeling showed that hallyu 4.0, social media, and consumer ethnocentrism influenced the intermediates variables: subject norms, trust, attitude and behavioral intention and influenced purchase decision. The hallyu 4.0, social media, and consumer ethnocentrism are independent variables. They impact purchase decision through mediating variables such as trust, subjective norms, attitude and behavioral intention. Social media influences not only to trust but also to subjective norms. Subjective norms influence on purchase decision. This study also discovers an interesting fact that trust and attitude variables have an impact on behavioral intention and purchase decision.

• Journal of Popular Narrative
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• v.26 no.2
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• pp.9-37
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• 2020

The present study examines the transnational "Hallyu" (the Korean wave) phenomenon after the 1990s in the context of a solidarity movement of East Asian women. It also focuses on the passion for the world stage given the cultural industry was supported by the government as a "chimney-less factory" during the IMF financial crisis. Over the past twenty years and through Hallyu 1.0, Hallyu 2.0, and Hallyu 3.0, "K-entertainment" has been advocated, as a concept that encompasses K-drama, K-pop, etc. in the cultural industry. Furthermore, everything Korean, through K-culture, is being put at the forefront. However, there is insufficient discussion regarding the actions of the women who led the Korean wave. This paper examines the female fans and girl groups who played leading roles in the rise of popular culture and its transnational prominence within the context of the female agency and female labor involved. The lack of acknowledgment of their roles is linked to the current erasure of the discussion on the female youth. Discussion on "woman" is still limited to the domain of reproduction in the generational discussion that has replaced the existing nation-state or class led discussions in the current era of neoliberalism. However, since The reboot or the popularity of feminism in recent years, the interest in the female narrative, in works such as 'Kim Ji-young, Born 1982' has been expanding beyond East Asia to the rest of the world. Just as Hallyu was created by women in the beginning, there is a new trend in which women across national borders are joining in solidarity. As such, the present study attempts to prove that the female fan, girl group, and female youths must be one meta-narrative through a feminist reading, rather than individuals with separate identities.

• Journal of Fashion Business
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• v.23 no.5
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• pp.67-80
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• 2019

This study analyzed the factors determining fashion lifestyle of Uzbek students in Korea and their clothing purchasing behavior and attitudes towards Hallyu, the Korean image, satisfaction, preferences and purchasing intentions for Korean fashion according to fashion lifestyle. The data collected from 260 Uzbekistan students in Korea were subjected to factor analysis, cluster analysis, ANOVA, Duncan test, and ${\chi}^2$-test using SPSS 25.0. The results were as follows: 1) Fashion lifestyle was analyzed based on brand orientation, tradition, fashion, and personality. The fashion lifestyle group was classified as follows: brand, fashion/personality, traditional, and fashion passive. 2) The evaluation criteria for fashion products, information sources, and store selection criteria were varied among the four groups of fashion lifestyle. 3) The attitude toward Hallyu and Korean image, the satisfaction, preference, and purchasing intention of KFP varied significantly between the fashion lifestyle groups. 4) The demographics of fashion lifestyle groups showed significant differences in sex and residential status. These results can be used as a basis for fashion companies targeting markets for Uzbek people in their 20s.

• Journal of Korea Society of Industrial Information Systems
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• v.17 no.7
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• pp.127-138
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• 2012

Unlike the first generation of Korean Wave (Hallyu 1.0), which mainly refers to the exports of Korean TV dramas via broadcasting systems, the New Korean Wave (Hallyu 2.0) era has been brought by K-pop (Korean popular music) via the rapid growth of social media. The purpose of this study is to understand the impact of this significant shift in media on global fans and their way of adopting Korean cultural goods from a social capital perspective, in order to draw some implications for the current Korean content industries. Most global fans of K-pop are young and use social media to access digital content and share their opinions spontaneously. SNS providers such as YouTube and Facebook not only act as information providers to usher the fans to online music retailers; but also function as links between these fans and cultural producers by turning bonding social capital into bridging social capital. Telecommunication and advertising companies participate in this market as a third party by providing funds for supporting digital circulation and distribution. In this multi-sided market with the interdependent agents, it is extremely important to secure a platform that leads the evolution of its business ecology. Without owning the platform, there is also a very little chance to produce linking social capital as a means to maximize the impact of New Korean Wave.

• Journal of Korea Entertainment Industry Association
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• v.13 no.3
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• pp.13-25
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• 2019

Since reaching the top in the Billboard Main Album Chart 'Billboard 200' with Love Yourself: Tear in May of 2018, BTS once again took first place after just three months in the 'Billboard 200'(September 3, 2018) with the repackaged album Love Yourself: Answer. It opened the doors to the 'Hallyu 4.0' by conquering the main Billboard Chart with a song sung in Korean. BTS rose to the top on the 'Billboard 200' twice, thus being recognized globally for their musical talent(song, dance, promotion, etc.), and took their place in the mainstream music market of the world. BTS moved away from intuitive interaction such as mysticism, abnormality, irregularity, etc. but instead created their own world(BTS Universe) with fans around the world through two-directional communication such as consensus, sharing and co-existence. They are recognized as artists that went beyond being an idol group that simply released a few hit songs that had now elevated popular music to a new form of art. In result, they retained a highly loyal global fan base(A.R.M.Y.) and they are continuously creating good influence with them. This study analyzed the success factors of BTS using the S-M-C-R-E model as follows. ① Sender: BTS'7-person 7-colors fantasy and 'All-in-one storytelling' strategy of producer Bang Shi-hyuk ② Message: Create global consensus of 'you' rather than 'me' ③ Channel: Created real-time common grounds with global fans through social network platforms such as Youtube, Facebook and Instagram ④ Receiver: Formed highly loyal global fandom(A.R.M.Y.) that extends outside of Korea and Asia ⑤ Effect: Created additional economic value and spread good influence