From Katseye to Blackpink, girl groups are the new global power brokers

From Blackpink to Katseye, girl groups are evolving into pivotal instruments for crafting national identity and projecting soft power. And they’re attracting the gaze of global luxury brands. The numbers speak for themselves. From 2020 to 2025, a striking 254 new K-pop girl groups debuted, outpacing the 186 new boy groups, according to By the Numbers. While private companies drive commercial success, governments are strategically harnessing the influence of these musical groups to promote national culture and project soft power. Ingyu Oh, a professor of international business and Korean and Japanese cultural industries at Kansai Gaidai University in Japan, even argues that cultural influence has become as critical as economic and military power in global geopolitics. Pop culture as soft power “Countries aren’t turning to pop culture because it rivals tanks or trade deals in raw power; they’re doing it because it builds something different, signing an effective layer of influence,” Oh tells Jing Daily. “Hard power commands compliance, but this cultural infrastructure creates true believers, showing voluntary advocates who will champion your interests on the global stage.” That same dynamic also exposes a paradox. “By engaging structurally marginalized audiences, particularly young women, rather than male political elites, cultural influence operates outside, and sometimes against, traditional power structures. This makes it less potent in immediate geopolitical terms, yet more resilient, as it builds distributed networks of support that endure even during diplomatic breakdowns,” Oh adds. South Korea’s success contrasts with China’s top-down approach. While K‑pop’s rise was not accidental — government leaders invested millions in cultural exports in the 1990s to enhance the nation’s image — it was also not forced. Private companies created content that authentically resonated with female fans, generating a form of soft power that state-led diplomacy alone could not achieve. This organic success has forged an inseparable link between K-pop and South Korea’s global brand. The 2025 Global Hallyu survey shows that 70.3% of global respondents hold a favorable view of Korean cultural content. This favorability peaks in Asia, led by the Philippines (88.9%), followed by Indonesia (86.5%), India (84.5%), and Thailand (82.7%). Shom Mabaquiao, a behavioral researcher and insights editor at Canvas8, says girl groups are uniquely potent because they operate at the intersection of consumption and profound emotional identification. “Their core narratives, centered on support, self-belief, and claiming a voice, directly mirror what so many young people, especially women and the queer community, are navigating right now,” he says. “And it is these audiences who dictate culture. That powerful alignment is what makes girl groups such fertile ground for cultural export.” Fandom spending as an economic force Fan spending on girl groups goes beyond products or experiences — it is an investment in aspirational ideals. This emotional engine helped South Korea’s total cultural content exports reach $37.94 billion in 2025, with female fans comprising up to 90% of K-pop’s fanbase. A prime example of this emotional connection is Katseye. Created by Hybe Corporation and Geffen Records through a competition series, the LA-based multinational girl group formed in part through fan voting, reflecting the identities and tastes of its audience. Members are diverse — for example, Lara Raj is Indian-American and Megan Skiendiel is of Chinese descent — and their performances often highlight these backgrounds. “Cultural elements aren’t announced or explained; they’re woven in,” Mabaquiao explains. “The ‘Gabriella’ performance in [Katseye’s] tour shifts from Latine influences into an Indian-inspired dance break centered on Lara Raj. Her bindi appears naturally, just as Megan’s jade bracelet does. Explanations come later, if at all, usually after fans start getting curious.” This unforced diversity is itself a powerful commercial proposition. The success of Katseye’s Gap campaign paid off spectacularly, with Meltwater citing a 171% increase in brand mentions and a 286% surge in positive sentiment during the campaign period. It’s no wonder these artists have become such coveted brand partners. As Andre Frois, global editor of Haute Time, points out, in today’s data-driven landscape, the entire artistic package is optimized. “The science of optimizing music like a business doesn’t just apply to notes and syncopation. It extends to an artist’s choreography, clothing, and appearance,” Frois shares. “K-pop is the pinnacle of for-profit optimization, where an idol’s captivating sound and image naturally attract global brands.” Beyond K-pop: Luxury looks to Asia’s next icons This model now shapes celebrity creation across Asia, from China to Thailand, the Philippines, and Indonesia. While K-pop idols still dominate, luxury brands are increasingly embracing talent from across the region, showing how the Hallyu platform is elevating stars everywhere. C-pop, in particular, is placing its own talent firmly on the global luxury map. Girl group A20 May has secured an endorsement with Fendi, while Esther Yu, formerly a member of THE9, has collaborated with Tissot and Moschino. At the same time, the growing presence of Southeast Asian members in girl groups such as Unis reflects a shift in what fans value: individual background and identity. Acts from the region, including Filipino girl group Bini, are no longer simply following the K-pop formula but carving out their own global trajectories, Mabaquiao notes. This positions Southeast Asia’s homegrown groups for success by offering something closer, more specific, and more lived-in. These acts effectively extend the hallmarks of K-pop’s second generation — its bold visuals, unapologetic artistry, and members who feel genuinely real — by rooting them in immediate, regional authenticity. “The success of Blackpink’s Lisa is definitive proof,” says Mabaquiao. “Her powerful Southeast Asian identity fundamentally expanded who could see themselves in global pop stardom, especially as she broke into mainstream Western media. That visibility was a signal, which proved global audiences are ready for diversity that is intrinsic, not incidental, and for idols whose roots are a celebrated foundation, not an open secret.” Girl groups have become pivotal cultural and economic forces, and as Southeast Asia’s creative power rises alongside South Korea’s, they prove that true global influence is now built on authentic connection, not traditional geopolitics.

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From Katseye to Blackpink, girl groups are the new global power brokers