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There is no world like the world of K-Pop.
His booming songs and successful choreography are a makeup of his different genres and global success. But despite the eye-catching auditory and visual pleasantries, it holds a superficial component in which lies the perfect style. Get in, fashion.
Over the decades and across all genres, fashion has played a large role in conveying the aesthetic of music from shows to music videos to album covers. But K-Pop’s massive reliance on conceptual styles and unique approaches to clothing, alongside its global presence, has created a luxury fashion movement that has everyone, from designers to fans, taking notice.
Originating in early 1990s South Korea, K-Pop (abbreviated as “Korean Pop”) is a product of exemption from a period of limited censorship. The debut of Seo Taiji and Boys pioneered modern K-Pop, blending South Korean culture with Western instrumentals and simple choreography. Dressally, however, they just echoed everyday 90s wear, often wearing bucket hats, overalls, flannels, and sports memorabilia. Resembling the hip-hop culture of old in the US, it may also reflect a strong global influence.
However, fashion did not undergo revolutionary changes until the end of the decade as a result of the new term “idol” (which is still in use today). Entertainment agencies are following the sonic momentum of K-Pop but turning their artists into celebrities or idols who not only convey the music but also visually narrate the new sound. If fashion didn’t take up a large part of K-Pop’s DNA, it must be now.
Clothing is powerful, using the ability to differentiate idols from their competitors, especially in terms of aesthetic precision, and allowing them to constantly put on new looks and undergo rediscovery. (This genre is not prone to monotonous boredom.) Despite the commercialization of K-Pop, fashion is now an instrument of expression, a tool if you will, that encapsulates music perfectly.
The late 90’s and early 2000’s saw a large number of performances representing an era of experimentation and escape. Some try on sportswear and streetwear, pairing puffer vests, anoraxes, and even glasses with primary color blocking and loose silhouettes. The abundant looks of leather, the full-length high-collared coat, and the narrow cyborg-transformed lens fills the matrix and gothic concept while futuristic vision is brought to life with metallic and galactic engineering.
Famous Y2K articles like gum-cut graphic T-shirts, cargo, and jewelry hair ties followed the trends of the era or blended into funky ensembles. The academic concept is institutionalized with the school uniform and on the shoulders of JanSports styled for fashion, not value. Surprisingly, some played in costumes like HOT which Mario Bros paired with the circus for their music video “Candy”. Joining them, groups like Shinhwa and Baby Vox adapted fragments of each concept, reimagining their fashion bones, while others such as Fin.KL maintained their signature style.
In the late 2000s and 2010s, K-Pop overshadowed a fast growing industry. Reaping mainstream popularity in the East, he has also ridden the Hallyu Wave – South Korea’s cultural diaspora across borders that began in the 1980s – in the West. The advent of digital sharing is fast becoming the root of K-Pop’s burgeoning success overseas.
The same ability to concoct a vibrant and full of life – or in this case musical resonance – clothing flows to a second generation of artists. But it’s now featured on a broader scale, reaching out to international mansions and underground brands eager to graze this previously uncharted territory of fashion.
2NE1’s fiery and rebellious concept, capturing the essence of independence and rebellion, caught the attention of Balmain, Givenchy, and Moschino. In 2011, through his work with Adidas, Jeremy Scott transformed a pair of shoes into the 2NE1 motif – wild, electric colors wrapped in gold wings (literally) woven into a tie – for a group appearance. Scott’s colorful designs were also loved by Girls Generation which featured the Adidas collection in them “I have a son” music videos. Meanwhile, Super Junior, the group that has maintained its popularity to this day, wore Stella McCartney’s Beatle-inspired “All Together Now” collection in their 2019 music video. “SUPER Clap”.
Fast forward to today and K-Pop is cemented in pop culture more than ever. Third generation artists, and even their juniors, shine in the fashion spotlight. First, they have ushered in new trends, such as modernized Hanbok, bridles and cut cardigans in men’s wear. But in the luxury fashion book, they have started a new chapter.
BTS’s success in the music scene coincides with their portfolio of styles. The look for their single “Mic Drop” itself was dressed in a multitude of designer wardrobes, from the military-esque outfit Kim Jones set for their 2019 world tour to the heavy color and graphic displays designed by Virgil Abloh worn during their time Saturday Night Live performance.
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Idols are also no stranger to fashion campaigns. Blackpink member, has been named as “biggest pop band in the world”, has worked individually with Celine, Saint Laurent, Dior, and Chanel. Under SM Entertainment, members of Red Velvet, Exo, and SuperM have worked with Prada, Alexander McQueen, Gucci, Michael Kors, Burberry, among others, through campaigns, ambassador work, and social sharing. The list goes on.
Being on stage in the best outfits has also turned some idols into high-end creative directors. Got7 Jackson Wang launched its own streetwear brand, Team Wang Design last year. Since his debut, he’s produced two collections that specialize in the industry, minimalist construction and hardware (although his latest focus is on velvet) and a capsule collection that mixes Monet’s work with clothing. Blackpink’s Jennie took over glasses in 2020 when she collaborated with the South Korean sunglasses label Gentle Monster in a repertoire of neat but nostalgic works.
Many of these have not only affirmed K-Pop as a fashion powerhouse, but have introduced luxury brands to an entirely new market: K-Pop fans. Any designer has an appeal, but when worn by a sought-after idol who seems to easily pull it off, it suddenly becomes a commodity of connection. On social media, Pinterest-style images embed the exact items that idols wear, be it on stage or at airports, creating channels for fans to track and purchase those items.
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This is the case for BTS, when it comes to looking for a certain Virgil t-shirt and pink shirt jumped after members Suga and RM were seen wearing their own, according to Lyst. The same is true of Fear of God, a label no stranger to the group; just by wearing it, not promoting it on purpose, FG’s signature logo has become the ligament of the group’s fashion identity.
So, next time K-Pop’s stunning looks make you surprise think about the fashion journey it has been on. Maybe you also surf the web for luxury.
As the world is slowly starting to accept the impact of the coronavirus pandemic, the luxury industry has also been shaken under the massive implications. On March 25, 2020, a study by Bain predicts that the global luxury market will shrink 25 percent to 30 percent year over year in the first quarter.
Luxury brand owners felt the first shocks of the disaster as the virus started spreading to major developed and developing countries. With the lockdown in place by the government, economic growth is currently hampered by an uncertain recovery curve.
The luxury fashion sector has to face the unpleasant reality of a slowdown. There is an increase in inventory reserves, a slowdown in production, and a decline in demand in a spiral with a disturbance of the socio-economic balance.
While a lot of ink has dried up due to the effects of the crisis, in this section, I’m trying to focus on some of the drivers who are changing the direction of the luxury sector.
A crisis of this magnitude imposes a heavy emotional toll, directing consumer preferences in newer directions. ‘Silent luxury’ lies in exceptional service with an emphasis on classic basic elements, such as traditional craftsmanship and authentic heritage, and less on shine and ‘bling’.
Demand customers seek creativity and expertise with a unique blend of modernity and tradition.
The main trend of millennials is that they are choosing more experience and “social / Instagrammable moments” rather than spending on luxury items. A similar trend is now being seen in the older generation, who, having been accumulating luxury products for years, were swept away by the idea of a shared economy.
Expected temporary positive momentum luxury experience will persist, may slow down a little in the short term as consumers may temporarily re-purchase luxury goods because of the experience.
The socio-cultural shock of COVID-19 can cause changes in consumers’ mindsets and value systems that support their luxury purchase decisions. This industry is working under the flow what a waste extractive models with very high pressure to keep looking for ‘what’s new’ but with consumers looking for hard resetting to this futile search.
Taking the long-term implications of wasted resources raises questions of ‘how it is made’ and a positive shift towards more eco-friendly sustainable fashion.
This silver lining drift will increase with a desire for more responsible consumption – reinforcing the need for clear and detailed information about the underlying people, processes and products.
With strict restrictions on consumer movement both locally and outside, luxury brands are looking for internal silo solutions to streamline their response by unlocking the full potential of omnichannel retailing and mastering digital marketing.
Today, the focus is on minimalism and moving forward with an eggshell approach of relieving the repressed desire to enhance human relations imposed by unprecedented locking.
Make use of the cutting edge AI and AR / VR to create a more personalized experience, connect with end users emotionally through chat and online interaction options to keep consumer brand connections alive and relevant, and providing retail features such as shop-in-home service will provide the convenience needed for consumer anxiety and enable unquestionable trust.
There are several layers of silver. Uncertainty looms, but the increase in new coronavirus cases is slow in this part of the world. By doing so, it is expected that consumer spending intentions will be higher.
After making heads turn with her clever layering play in all ensembles of Bhaane, Bollywood fashionista Sonam Kapoor Ahuja raise the standard of casual mode in comfort and luxury as she steps out in London wearing clothes from Prada, Fendi and Emilia Wickstead all-in-one display. Putting her clothes legs forward, Zoya factor The star was seen picking flowers from “her favorite flower shop on the hill of Notting” in a fashion this winter.
Taking to his Instagram handle, Sonam shared tons of photos featuring him on a sizzling avatar. The diva was wearing a pink sweater with a round neck pattern from Prada, tucked inside a silver knee-length skirt by Emilia Wickstead.
Sonam cut a stylish figure in a classic utility jacket by her husband, urban wear brand Anand Ahuja ‘Bhaane’ and matched the look with a golf cap. The gorgeous styling is complemented by a pair of red leather boots from Fendi and Sonam, complementing the look with a sky blue handbag.
Leaving her beautiful hair on her back, Sonam is seen posing with a bunch of roses. Wearing a hint of nude pink lipstick, Sonam complements the glam smarts with minimal makeup and mascara-laden lashes.
The photos are entitled, “Beautiful flowers + prettier clothes = a happy Sonam. Twirl at Bhaane. All day. Every day. #AllBhaaneAllDay #BhaaneTurnsEight #HappyBirthdayBhaane (sic). “
Sonam has always proven to be the epitome of modern femininity by choosing fashion ensembles with modern silhouettes and the use of strong colors. The simple combination of traditional and contemporary styles, his unique style and his ability to really pull off any outfit not only fascinates international designers but also makes him dominate the fashion world since he stepped into the industry.
Sales in Italy mode Salvatore Ferragamo’s group fell 60% in the second quarter, which was hardest hit by the coronavirus crisis due to global locking.
The Florence-based leather goods brand reported Tuesday sales of 377 million euros ($ 442 million) in the six months to June after a decline of more than 30% in the first quarter.
Analysts estimate revenues of around 386 million euros for this semester, according to Refinitiv’s estimates.
The virus outbreak, with the closure of its store and a slowdown in tourism, hit the group as Chief Executive Micaela Le Divelec led the brand re-launch.
Last year, the group returned to sales growth for the first time since 2015 but in May recalled former CEO Michele Norsa as executive vice chairman to overcome Hurricane Covid-19.
The company gave no hints about prospects for this year but stated that July showed an increase in sales trends compared to the previous quarter in all its markets.
“In particular, on July 25, the group has recorded strong growth in stores operated directly in Mainland China, Korea and Japan compared to July 2019,” he said in the statement.
Last month, the company decided to postpone all remaining first-half data and analyst conference calls until September 15 to be able to show steps taken by the group to overcome the effects of a health emergency, a source said.
($ 1 = 0.8526 euros)
(This story has been published from a wire agent feed without modification to the text. Only the headlines have been changed.)