Pop-Up Stores Evolve into Fan Experience Platforms, Exposing Issues with Unofficial Merchandise

Pop-up stores have become as popular as news about new K-pop idol Comeback announcements. Within fan communities, the opening of such stores has risen to equal prominence alongside album release dates, as they now serve as key platforms for fans to directly experience an artist’s Visual world. Once merely spaces selling basic merchandise like albums, Lightstick, and photo cards, pop-up stores have transformed into immersive venues that allow fans to engage with an artist’s entire conceptual framework. However, this growth has also brought significant challenges. The unauthorized production of unofficial merchandise featuring idol portraits has surged online and offline, exacerbating rights infringement problems.

Leading domestic agencies such as SM, JYP, YG, HYBE, and Starship Entertainment are investing heavily in experiential pop-up stores that leverage idol IPs and their associated worlds. These agencies design pop-up stores as immersive showrooms by integrating media art and interactive content tailored to album concepts. Fans who visit these locations share photos and other content on social networking services (SNS), creating a positive feedback loop that generates additional online content.

Fan preferences have also shifted dramatically. Instead of simply purchasing albums, fans now seek direct experiences with an artist’s world and emotions. They view supporting their idols as an integral part of their identity and consider merchandise bought at pop-up stores not just collectibles but symbols that prove their membership in the fandom. One industry insider explained, “Pop-up stores function more like offline content platforms that combine music, Visual elements, spatial design, and SNS verification culture. Fans gain experiences where they are not merely buyers but active participants in Comeback events.”

The increasing number of foreign visitors who travel to Korea to experience pop-up stores has also revitalized surrounding business districts. In areas recently dubbed “pop-up holy lands” such as Seongsu, Yongsan, and Yeouido, visitors often spend money at nearby cafes, restaurants, and shopping malls. Even mid-sized agencies are showing interest in operating pop-up stores, with popular idols, new groups, solo artists, and even virtual idol groups all opening such venues.

Cultural critic Park Song-ah stated, “As fans begin to place greater value on emotions and memories that can only be experienced in person, pop-up stores have become a crucial factor reshaping the landscape of the K-pop industry. They have evolved into the core platform for Comeback marketing, generating both fan engagement and online buzz.”

The success of pop-up stores has however led to negative consequences. Unofficial merchandise that uses idols’ faces and names without permission is sold online and offline at lower prices than official products. While there has long been a culture within fandoms of creating and sharing small quantities of merchandise, recent years have seen a surge in large-scale production and sales aimed at profit.

Online shopping platforms like Naver Smart Store and Coupang make it easy to find unofficial merchandise, which comes in a wide variety of types. In addition to photo cards, keychains, and stickers, calendars featuring idol logos are also available for purchase. Unofficial merchandise is also sold offline; stores in Seoul’s Myeongdong underground market sell photo cards, keychains, and calendars made with idol photos for mostly under 10,000 won each.

The core issue with unofficial merchandise lies in its violation of publicity rights. Publicity rights grant owners control over the economic value of a celebrity’s name, face, stage name, and other personal attributes, yet unofficial merchandise is produced without the rights holder’s consent. This constitutes unauthorized exploitation of an artist’s fame and market value. Copyright and trademark issues also arise. Using official photos or album images to create merchandise violates copyright laws, while utilizing group logos or official trademarks breaches trademark regulations.

Consumer harm is significant as well. Lower prices compared to official products make them attractive options for fans with limited purchasing power, such as students. Confusion among consumers can also occur when parents unfamiliar with fandom culture buy unofficial merchandise as gifts for their children.

Foreign tourists are also exposed to the same problems. In tourist areas like Myeongdong, products featuring idol photos and group names may be perceived as K-pop souvenirs. Vanessa, a tourist from Mexico, said, “I thought it was an official product because the sign mentioned K-pop. If I had known earlier, I wouldn’t have come.” When merchandise of unclear quality and origin is treated as official products, it can damage trust in the K-pop market.

The entertainment industry is stepping up its efforts to address commercially sold unofficial merchandise. In March, the Intellectual Property Office issued its first corrective orders under the Anti-Unfair Competition Act against four companies that produced and sold merchandise using members’ names and portraits without permission. These orders required them to stop sales, dispose of existing inventory, prohibit similar sales in the future, and complete training to prevent recurrence. HYBE filed lawsuits in U.S. courts against unauthorized merchandise sellers ahead of BTS’s U.S. tour in April 2024, and had previously obtained temporary restraining orders and seizure orders through similar legal actions during BTS’s performances in 2019 and 2021.

However, the surge in unofficial merchandise is also driven by fan dissatisfaction with official products. High prices, short sales periods, and random item configurations are frequently cited as issues. Analysts suggest that the difficulty in obtaining desired member-related items pushes fans to turn to unofficial merchandise.

Cultural critic Kim Heon-sik noted, “When official merchandise is expensive, limited in quantity, or sold randomly, fans inevitably feel unsatisfied. A system that over-exploits fan loyalty contributes to the demand for unofficial merchandise. The K-pop industry must avoid repeatedly using fan passion merely as a profit motive. The entertainment industry also needs to reflect on the widespread production of unofficial merchandise.”

The future for pop-up stores appears promising.