[K-Wave 3.0]⑫"Korean Wave in Its Renaissance... Support Needed for Permits in Each Country"

Era of K-Content, Beauty, and Cuisine
Experts: "Upward Trend Will Continue"
"Avoid Approaching with a Sense of Cultural Superiority"
Emphasis on Unified Government-Private Sector Teamwork for Sustained Influence

At the end of November last year, the '2025 Korea Game Week' was held at the OEG Stadium in Hanoi, Vietnam, hosted by the Korean Cultural Center in Vietnam. This event, now in its third year, aims to foster exchange between the gaming industries and cultures of Korea and Vietnam, and attracted a crowd of over 5,000 people. During the three-day event, preliminary and final rounds were held for three esports competitions-League of Legends (LoL), PUBG Mobile, and CrossFire-all of which enjoy high popularity in both countries.

Ragephil (real name: Tran Bao Minh), who plays for the Korean esports team DRX, also attended the event to meet his local fans. Local game fans enjoyed a talk show with Ragephil, asking questions they had always wondered about and requesting autographs and commemorative photos, as if meeting a star they admired.

At the '2025 Korea Game Week' event held in Hanoi, Vietnam, last November, hosted by the Korean Cultural Center in Vietnam, local game fans are taking commemorative photos with their country's eSports player, Ragephil (fifth from the left). Photo by Korean Cultural Center in Vietnam Facebook

Ragephil is the first foreign player to participate in the League of Legends Champions Korea Cup (LCK), Korea’s top-tier esports competition. Much like how Park Jisung and Son Heungmin made their mark in the English football league, the Korean team, from the home of esports, discovered and recruited this promising talent directly from Vietnam. He has become a symbolic figure linking the two countries, even being invited to the Korea-Vietnam state banquet in August last year.

Choi Seungjin, Director of the Korean Cultural Center in Vietnam, emphasized, "For the influence of the Korean Wave to be sustained, as in the case of recruiting Ragephil, it is necessary to move beyond simply spreading our culture and promote two-way exchanges. For example, producing joint movies or dramas featuring actors from both countries can blend our cultures, and these cultural touchpoints can lead to business opportunities between governments or companies. Both countries should pursue a win-win approach."

"The Korean Wave Enriches Everyday Experiences... It Will Become Even More Active"

The Korean Wave began in 1997 when Korean dramas gained popularity in China. In 1999, the Ministry of Culture and Tourism officially adopted the term "Korean Wave," and it has continued for nearly 30 years. Interest in Korean culture, which was sparked by dramas, spread beyond music centered on idol groups to the film and game industries. Subsequently, beauty, fashion, and food trends featured in these contents also gained popularity, and, through platforms like YouTube, other online video services (OTT), and social networking services (SNS), the Korean lifestyle as a whole has become a global phenomenon. According to the Ministry of Foreign Affairs, as of December 2023, the number of Korean Wave fans (club members) worldwide surpassed 200 million for the first time, marking its entry into the mainstream of global popular culture.

Netflix animation K-Pop Demon Hunters video. Provided by Netflix

The impact on Korea’s economy is also considerable. According to the 2024 Korean Wave Ecosystem Research Report published last year by the Korea Foundation for International Cultural Exchange, exports of cultural content products such as broadcasting, music, film, and games are estimated to reach $11.569 billion (about 17 trillion won) in 2024. Of this, exports attributable to the Korean Wave are analyzed to account for $8.018 billion (about 12 trillion won), representing about 70% of related exports.

During the same period, in the export forecasts for consumer goods and tourism-including food, cosmetics, fashion, automobiles, and mobile phones-exports driven by the Korean Wave are expected to reach $7.165 billion (about 11 trillion won), or about 6.1% of the total $117.89 billion (about 173 trillion won). In 2014, exports of cultural content, consumer goods, and tourism driven by the Korean Wave accounted for 0.95% of Korea’s total exports, but this share increased to 1.82% in just ten years.

Experts from both industry and academia predict that the influence of the Korean Wave, now experiencing a renaissance, will continue for some time. Kim Namjo, Professor of Tourism at Hanyang University, stated, "It is no exaggeration to say that the Korean Wave is at its peak right now. For example, traditional Korean attire like hanbok and gat featured in K-Pop Demon Hunters may seem unfamiliar to Koreans, but they are perceived as fresh and appealing by foreigners, which has elevated the image of Korean culture."

Jung Ransu, CEO of Project Su and adjunct professor at Hanyang University’s Department of Tourism, also noted, "Before the 2010s, interest in Korean culture was mainly limited to niche fan groups, but since the rise of YouTube in 2015 and especially after the onset of COVID-19 in 2020, the Korean Wave has spread beyond specific areas to become part of everyday experiences. The upward trend remains unbroken, and it is highly likely to become even more active in the future."

"Approaching from a Foreigner’s Perspective"... Concerns Over K-Beauty’s Oversupply Damaging Its Image

There is also a prevailing view that, in order to maintain long-term interest in K-content and the broader Korean lifestyle it inspires-and to translate this into industrial achievements-it is important to avoid nationalism and instead harmonize with local characteristics. Jung emphasized, "The key to the success of K-Pop Demon Hunters was its approach to Korean culture from a foreigner’s perspective. If we approach culture with a sense of superiority, it may provoke resistance."

Yoo Jeonghee, a food designer at France K-Mart, pointed out, "Food manufacturers aiming to supply local distributors often believe that if a product sells well in Korea and is popular in the United States, it will work anywhere overseas, without considering European or French food regulations. A thorough review of the local market is essential to ensure compliance with requirements such as ingredient lists, composition, allergy labeling, and labeling standards."

Foreign tourists are singing "Golden," a track from the Netflix animation "K-Pop Demon Hunters," at the 2025 Seoul Hunters Festival held at Seoul Plaza in Jung-gu, Seoul. Photo by Yonhap News

Visitors are enjoying a performance at the Korean Wave Expo held in Frankfurt, Germany. Photo by KOTRA

Lee Jaejin, manager of Lotte Department Store Hanoi, added, "Central Group, a major Thai distributor, opened a department store in the rapidly growing Vietnamese market, but failed to achieve significant results because it applied the same business methods used in its home country. For Korean business models and culture to gain traction and settle overseas, it is essential to localize by flexibly reflecting the consumer characteristics and preferences of each country."

There was also advice to be wary of reckless business expansion riding the Korean Wave’s popularity. Delphine Herve Tourat, merchandise planner at France’s Samaritaine Department Store, warned, "As K-beauty’s popularity has rapidly expanded, some product categories are now seeing excessive supply that exceeds market demand. If inventory management fails, the brand image of K-beauty, which is valued for its rarity and functionality, could be damaged, and the popularity of Korean products could fade as a temporary trend."

Collaboration between the government and private sector is also essential for the spread and sustainability of the Korean Wave. Director Choi said, "While investment in local markets should be led by the private sector, government-level trust is needed for tasks such as obtaining business permits and attracting tourists. It is necessary to clearly divide roles to coordinate these aspects smoothly." Lee Ilyeol, professor at Sejong Cyber University’s Department of Hotel and Tourism Management, also advised, "A one-team approach is needed among government, local governments, companies, and cultural institutions. Rather than focusing on short-term achievements, we should consider long-term plans and policy support."