Hallyu Expanding Beyond K-Pop to K-Food, K-Fashion, and K-Beauty, Driving Global Tourism and Economy

Hallyu culture, which is expanding from K-Pop to include K-Food, K-Beauty, and K-Fashion, is having a significant impact on global tourism and the economy. Hallyu is no longer confined to popular music alone, as South Korea establishes itself as a comprehensive cultural brand. **The Cultural Boom Sparked by “KPop Demon Hunters”** A fashion designer admitted that he completely changed his attitude of ignoring K-Pop for years. Describing Hallyu, which began with K-dramas and then spread to K-Pop and K-Beauty, he stated that this is not merely a trend but a global cultural shift. In particular, the insert songs from Netflix’s animation “KPop Demon Hunters” dominating U.S. charts has further amplified Hallyu’s influence. “KPop Demon Hunters” introduced Korean cultural heritage sites such as Namsan Tower and Naksan Park’s Fortress Road to the world and also played a role in attracting foreign tourists directly. The reason this film achieved global success without large-scale marketing is due to the voluntary promotion by K-Pop fanbases and the spread of online content. As movie music, merchandise, and fan art circulated on social media, fan communities naturally formed, showing a pattern similar to the success of “Frozen.” **The Era of Duty-Free Digital Music and K-Pop’s Competitiveness** Meanwhile, changes in the international trade system are providing new opportunities for Hallyu’s expansion. Recently, the Trump administration introduced a differentiated tariff system through U.S. trade negotiations. India and Brazil are under a 50% mutual tariff rate system, while countries such as South Korea, Japan, the European Union, and Turkey have entered a relatively lower 15% tariff rate system. Of particular note is “digital music.” Physical music products like CDs are classified under a specific code (8523.49102) in international trade and are subject to tariffs, but digital music files and streaming services have enjoyed a “waiver of tariffs on electronic transmissions” at the World Trade Organization level since 1998. As a result, no tariffs are actually imposed. This system has been agreed to remain in effect until March 31, 2026. Such a tariff regime has significantly enhanced K-Pop’s competitiveness in the streaming era. After the early 21st century when music CDs and DVDs were central to international trade, initial forms of streaming like Melon and Bugs appeared in 2005, followed by Apple’s iTunes Store in the U.S. Five years later, in 2010, physical media trade volume plummeted while digital trade volume surged. From this point on, current streaming services such as Spotify, Apple Music, and Melon grew rapidly, led by the United States, South Korea, and Sweden. Interestingly, Japan continued to sell many CDs during this period, and analyses suggest that K-Pop began to overwhelm Japan’s J-Pop in the global market from this time onward. Around 2020, streaming services also exploded in China and India. As of 2018, China’s QQ Music had 120 million subscribers and over 700 million users. The reason K-Pop secured a dominant position in the globally oriented streaming music market is its sophisticated artist marketing and fan community systems. While Japan, the U.S., and Europe led in the era based on music CD sales, K-Pop gained new opportunities with the shift to streaming. **Hallyu Spreading to K-Food, K-Fashion, and K-Beauty** Hallyu, rooted in K-Pop, is now expanding into areas such as K-Food, K-Fashion, and K-Beauty. As online content consumption via OTT accelerates, Korean food, beauty products, and fashion are naturally being introduced. South Korea is perceived by people around the world as a “country worth visiting” and a “country worth experiencing.” Food transcends language and borders to instantly connect travelers with a country’s culture and lifestyle, allowing them to experience it indirectly. Jeju Island’s “Haenyeo’s Kitchen” has become a model for domestic food tourism by integrating local cuisine, art, and storytelling, thereby increasing its value by adding narratives to the food. Food, stories, health, and vegetarianism are emerging as key themes. A vegan refers to a person who is a strict vegetarian and does not consume dairy, eggs, or honey either, while there are various types of vegetarians who selectively eat seafood or meat. According to the Ministry of Agriculture, Food and Rural Affairs, the number of vegetarians in South Korea exceeded 2.5 million as of 2022, accounting for 1.1% of the world’s population, or about 88 million people. Vegetarianism is spreading for various reasons such as diet or health goals, as well as personal beliefs related to environmental protection. Additionally, vegetarian and vegan-certified restaurants are rapidly increasing, especially in Europe and North America. Korean cuisine is already well-suited for local adaptation due to its reliance on grains and vegetables, and menu modifications alone can accommodate global vegetarian tourists. Kimchi, bibimbap, mountain vegetable dishes, and tofu dishes are already attractive options for vegetarian and vegan tourists, while creative dishes such as vegan bulgogi, tofu steak, and vegetable platters are likely to capture the tastes of vegetarians worldwide. In tourism, “food” means more than just a meal—it is a powerful content that leaves vivid memories of a destination and allows people to experience its unique charm. The global food tourism market is now shifting from simply being “tasty” to being “meaningful,” and Korean cuisine, with its emphasis on health, environment, and stories, possesses a unique competitiveness that encompasses even the vegetarian and vegan markets.