Thailand is becoming the new Asian powerhouse

When a nation achieves cultural hegemony, it makes itself known even in the opposite hemisphere and increasingly penetrates historical spaces, becoming a powerhouse. In Asia, over the past ten years, after a period of strong Chinese influence, all eyes have been on South Korea. This phenomenon was called “hallyu” (K-wave, or in Italian, “Korean wave”), a movement that saw the Korean peninsula infiltrate every sector, from fashion and beauty to entertainment. Season after season, K-pop idols have become regular attendees at the biggest fashion shows, Korean skincare has reached unprecedented virality, and Seoul has become the new Hollywood— with K-dramas dominating streaming platform rankings and film productions even winning the most coveted awards in cinema. However, over the past year, interest in Korean culture seems to be waning between market oversaturation and socio-cultural crises in the industry. Meanwhile, another Asian nation appears to be gaining traction: Thailand. Once considered merely a tourist paradise, Southeast Asia is becoming the new luxury hub, with Thai celebrities accumulating the same zeitgeist as Korean idols and actors. Could 2025 solidify this emerging powerhouse?

Thailand’s rise in global popular culture has been strongly influenced by the success of BL (Boy’s Love) dramas, a genre that has gained immense international recognition in recent years. As the name suggests, BL dramas are television series centered on romantic relationships between two men, often characterized by long and dramatic storylines filled with countless obstacles preventing the protagonists from finding peace and happiness. According to the Thai newspaper The Nation, the BL industry has become a turning point for Thailand’s cultural exports. Estimates from SCB EIC predict that the BL series market will generate over 4.9 billion baht (approximately 130 million dollars) in revenue by 2025. This segment, which in 2019 accounted for only 0.7% of Thailand’s media production value, is expected to grow to 3.9% by 2025, with a 17% annual growth rate. The rising demand for this type of content has made BL dramas one of the driving forces of Thailand’s entertainment industry, prompting the government and local institutions to consider strategies to consolidate the country's position in the international market. While South Korea built its soft power through K-pop and K-dramas, Thailand seems to have found its own formula in BL dramas to captivate global audiences. The reasons vary, but primarily, the genre’s appeal to female audiences— its main target— and the Thai industry’s ability to fill a gap in mainstream media representation have played key roles.

The success has been so profound that the front rows of major fashion shows have been increasingly filled with the new generation of Thai global ambassadors over the past two years. Among the most prominent figures is Apo Nattawin (lead actor of the cult BL drama KinnPorsche), who, during the SS25 season, even surpassed Blackpink’s Jisoo in earned media value (EMV) at Dior’s show. Meanwhile, Gucci selected Gulf Kanawut Traipipattanapong as the face of its FW24 campaign, titled “Seize the Day with Gulf.” More recently, in late 2024, Valentino named actor-singer Jeff Satur as its newest ambassador, making him the first Southeast Asian ambassador in the brand’s history. After September’s fashion month, Launchmetrics data for SS25 confirmed the rise of Thai celebrities. Thai and Filipino stars ranked first and second in celebrity-driven Media Impact Value (MIV), with the overall celebrity-driven MIV share increasing from 8.6% in SS23 to 18% in the past two years. Meanwhile, influencer-driven MIV dropped from 18.9% to 15%. Traditional media also benefited, rising from 55.5% in SS23 to 58% in SS25. Thai celebrities alone generated over 30% of the global MIV, with leading figures such as Apo Nattawin, Freen Sarocha, and Rebecca Patricia Armstrong, whose debut as a guest at Chanel’s show even outperformed Blackpink’s Jennie, one of the brand’s muses.

When it comes to fashion, it is not only the “front-end” that is increasingly opening doors for Thailand. As Shanghai Fashion Week continues to move closer to the Big 4 season after season, and Korean designers increase exponentially in major fashion calendars (think of Miss Sohee’s recent debut in Haute Couture), Thai designers are also carving out their place in the international mainstream. According to WWD, the upcoming New York Fashion Week will feature an event titled “One Night in Bangkok,” scheduled for February 11 at Ideal Glass Studios, entirely dedicated to four Thai designers. The initiative, presented by the Thai Trade Center New York, the Ministry of Commerce Thailand, and Future Treasure, will showcase brands Vinn Patararin, Matter Makers, Merge, and Victeerut and will be curated by Tan Sawaddichai and styled by Sarunrat Panchiracharoen. Data from WWD indicates a rapidly expanding market, estimating that 2023 e-commerce sales for Thai fashion will reach $276.4 billion, with most of this revenue generated in China. By 2029, the number of users interested in the fashion sector in Thailand is expected to reach 18.1 million people. The declared goal of the New York event is to expand business opportunities in the U.S., showcasing Thai designers' versatility and creative potential to a wider international audience.

What was once speculation is now a fact: Thailand is no longer a secondary market. On the contrary, it lays the foundations for what many call the “T-Wave.” Much like what happened to South Korea following the 1997 financial crisis, Thailand seized the economic uncertainty of Asia in 2024 to decisively invest in its creative and cultural industries, identifying soft power promotion as a crucial path to growth. The appointment of Srettha Thavisin as prime minister in 2023 has further reinforced this vision. The academic journal East Asia Forum reported that the government aims to create 20 million jobs within four years and generate annual revenues of about 4 trillion baht (over $100 billion), allocating 5.1 billion baht to 11 cultural sectors, including cuisine, sports, and festivals. The fundamental idea is simple: transforming the creative economy into a central pillar of the country, just as South Korea did with the “K-Wave.” However, there is a risk of confusing soft power promotion with merely developing cultural industries. Some government initiatives, such as the “One Family One Soft Power” (OFOS) project, aim to train and empower as many as 20 million citizens so they can become “ambassadors” of Thai culture and achieve a set annual income. However, such projects risk being overly ambitious without clear guidelines on how training will be conducted or which specific creative skills will actually be incentivized.

On the luxury and lifestyle front, Thailand is experiencing a true “luxuryfication.” Just last December, Dior inaugurated its new concept store in Bangkok, nicknamed the “Gold House” for its imposing facade of 300 false windows, all covered in gold. According to JingDaily, Thailand might even be “the new K-Pop,” although, for now, it has yet to pose a real threat to Korean supremacy— particularly considering the strategic importance of Chinese consumers, whose preferences play a crucial role in reshaping the region’s cultural hierarchy. For its part, the Bangkok government is working to consolidate what has been built. Attention is at its peak, but it remains to be seen whether the political and economic framework will sustain cultural industries in a coherent and long-term manner. Thailand now stands at a crossroads: on one side, the opportunity to make a definitive leap onto the global stage and complete its transition into a true cultural powerhouse; on the other, the risk of dispersing its momentum into numerous disconnected initiatives. What remains clear is that the “T-Wave” is in motion, and stopping it now seems increasingly unlikely.