[Chodong Perspective] K-Brands Ride the Wave of Culture to the World

From K-Beauty to K-Food: The Power of K-Culture
An Era Where Content Drives Exports

In 2016, I visited Shanghai, China to cover the epicenter of the Korean Wave. In front of the cosmetics section on the first floor of the popular shopping destination Grand Gateway Plaza, a long line had formed. Chinese consumers had gathered to purchase "Sulwhasoo" from Amorepacific and "The History of Whoo" from LG Household & Health Care. The nearby 800-square-meter Innisfree flagship store on Nanjing East Road was also packed to the brim. The employee’s claim that “we have as many as 5,000 visitors a day” was no exaggeration.

At that time, Amorepacific was expanding its overseas business with Greater China, ASEAN, and the Americas as its three main pillars. The company generated one quarter of its total sales abroad, and "Sulwhasoo" became the first Korean cosmetics brand to surpass 1 trillion won in annual sales. "Innisfree" and "The History of Whoo" also joined the "1 trillion won club" in succession. In the global top 100 beauty companies ranking announced by the renowned beauty magazine WWD, Amorepacific even ranked 7th, ahead of Chanel. It was truly the golden age of K-beauty.

People are eating dumplings at the CJ CheilJedang Bibigo booth at 'KCON' held in New York, USA.
[Photo by CJ CheilJedang]

K-food has now picked up the baton. CJ CheilJedang’s "Bibigo Mandu" sparked a "K-dumpling syndrome" in the U.S. market in 2020, achieving 1 trillion won in global sales with a single product. Samyang Foods’ "Buldak Bokkeum Myeon" captivated taste buds worldwide, riding the wave of the "Fire Noodle Challenge." Last year, the Buldak brand’s global sales reached 1.21 trillion won, with more than 70% coming from overseas. The brand expanded not only to the U.S., China, and Southeast Asia, but also to Europe and the Middle East, creating a new cultural code known as "K-spicy." In the first half of this year, exports of cosmetics and food products reached an all-time high.

This growth cannot be explained by product quality alone. Behind it lies the power of strong cultural content?K-culture. Dramas, movies, and K-pop have changed the world’s perception of Korean products. Korean products are no longer just "reliable foreign goods" but have become "trends people want to experience firsthand." Overseas consumers now want to try the cosmetics advertised by BTS or buy the food eaten by drama protagonists?something that no longer feels unfamiliar.

"KCON," CJ’s cultural festival held in Los Angeles last year, was a stage that showcased this trend. Over two days, 140,000 people visited the venue, and long lines formed at the dumpling and tteokbokki booths operated by CJ CheilJedang. It was a scene that confirmed how the fusion of culture and consumer goods is now functioning as a core driver of industry growth, far beyond a simple event.

Culture crosses borders most fluidly. The American political scientist Joseph Nye defined "soft power" as the ability to attract and co-opt rather than coerce. Korean cultural content has increased trust and affection toward the country and has woven K-brands into the daily lives of global consumers. This is a real-world example of how soft power operates.

The new administration has announced plans to foster the cultural industry as a core national sector. President Lee Jaemyung has pledged to grow the cultural market to 300 trillion won and exports to 50 trillion won by 2030. The establishment of a Presidential Committee on K-Content (tentative name) is also being discussed.

The direction is right. However, declarations alone are not enough. Investment in cultural content should not be limited to simple arts support. An industrial ecosystem must be designed in which content, consumer goods, distribution, and services are organically connected. To achieve this, practical policies must follow, such as creating funds for cultural and consumer goods startups, promoting collaboration between cultural, food, and fashion companies, and building linkage programs with global commerce platforms.

Kim Gu once said, "The only thing I want to have endlessly is the power of a high culture." The global spread of Korean cultural content is an opportunity. A strategy is needed to turn this trend into sustainable industrial growth.