Why are K-pop fans essential to the fashion system?

From the fan-celebrity-brand equation, however, fashion insiders are left out, and never before has this season seen so many complaints about the crowds outside the shows. As early as September, tensions between the press and fans were noticeable: outside the Fondazione Prada, press members were assaulted at the entrance of the SS25 show by some fans. The incident was triggered by a photograph taken by photographers in which no fan’s face was visible. Without much explanation, one fan harassed the workers, demanding the photo be deleted. Similar episodes have occurred multiple times, revealing a shift in the dynamic between those attending fashion week and the crowd gathering outside the venues. As reported by Vogue Business, even the latest Dior show was at the center of controversy due to particularly persistent fans, leading some editors to describe the phenomenon as «tremendously undignified», something that risks alienating industry professionals and making the experience less accessible for those who work in fashion. Having moved from being merely invited guests at shows to becoming the stars of posters and billboards across cities (funded collectively by fandoms themselves), the FW25 season has made the transactional nature of the relationship between brands, celebrities, and fans increasingly evident. But who benefits the most from this relationship?

The Attention Economy

«If it becomes routine, season after season, the public might start seeing it as staged,» Serdari warned. Repetition works, but it can also become tiring. Nonetheless, as long as there are fans, the potential of these initiatives will remain high. Confirming this, after an idol is appointed as an ambassador, their fandom tends to react positively by investing in the brand. On X, in the weeks following the FW25 Fendi show, numerous fans of Bang Chan from Stray Kids took to social media to share their shopping experiences at the brand’s boutiques, revealing that they specifically chose products they had seen on their idol. During Milan Fashion Week, both Bang Chan and Byeon Woo Seok (Korean actor and Prada’s newest favorite) not only reached unprecedented levels of virality on social media but also became the focus of fan actions that transformed the city into a stage dedicated to their celebration. 

How to Worship an Idol

In the case of Byeon Woo Seok, his fanbase rented a branded van featuring his image, specifically chosen to maximize visibility while in motion. As the actor’s fanbase revealed: «Initially, we considered several support options, but in the end, we chose the support van because we believe that, thanks to its mobility, it can be more effective and reach more people.» Beyond careful logistical and financial planning, the initiative required approval from his agency, Varo Entertainment, to use his image, confirming how these fan actions have become an integral part of the celebrity narrative. Others, responding to the growing number of global ambassadors, have decided to dedicate their online presence to tracking celebrity news and movements tied to luxury brands. Francesco Rudi, for instance, discovered the power of these fandoms when his page Versace Eventi, which publishes daily updates about everything related to Versace and its ambassadors, quickly amassed 70,000 followers. This attention propelled him to the front row of the brand’s show with an official invitation. «The key to the "success" [of the page]», Rudi told us, «was the ability to connect with the fans of the ambassadors and with the ambassadors themselves, learning more about who they were, the paths they had taken, and the most crucial and significant moments of their careers. This process of "discovery" and "understanding" has allowed me to establish a much more concrete relationship with the ambassadors and their fans.»

An interesting fact is that both Versace and the fan page created by Rudi were perhaps the ones that, along with Prada, best leveraged the enormous traction generated by idols: «The relationship between fans and ambassadors has significant consequences for the brand and the bond between the brand and the ambassador», Rudi told us. «Often, if the fandom response is very positive, this can lead the brand to ride the wave and "play" with what the fans propose.» A major South Korean star who has fully embraced the term “Versace Prince” (a title given to him personally by Donatella) is Hyunjin from Stray Kids. The artist’s official fanbase, @HHJCentral, which boasts nearly 120,000 followers on X, feels involved and included in the brand's broader narrative: «Of course, the relationship between the brand, the idol, and the fandom is partly transactional; however, the bond between Hyunjin, Versace, and the STAY (the name of the Stray Kids fandom) goes beyond any commercial exchange. It is built on an emotional connection, passion, and our shared love for art.» Part of this inclusion was the public appearance made by Donatella and Hyunjin on the morning of the show: what better gift could the designer give the fans than a close encounter with their idol?

According to the team at Hyunjin Central, the impression is that Versace wants to reciprocate the dedication of its audience, warmly welcoming Hyunjin into what both fans and the brand called the “Versace family”. Fans are not unaware of their idol’s market power, and for this reason, they recognize that this collaboration is beneficial for both parties. On the one hand, Hyunjin has the opportunity to work with an iconic luxury brand, strengthening his position as a fashion icon and reaching an increasingly broad audience. On the other hand, Versace can tap into a younger demographic and leverage the strong following of K-pop, which, in recent years, has proven to be a strategic asset for the luxury sector. «Hyunjin, Versace, and we fans show a genuine mutual appreciation, creating a positive and supportive environment that transcends any transactional value.», the fanbase team said. However, this support is not limited to posters and screaming crowds—on the contrary, it is strategized like a battle campaign. 

Perhaps the attention economy is not just made up of imaginary numbers but is a very real, and even too real, economy. According to the Korea Economic Daily, for example, the value of the South Korean market was around $1.7 billion last year and is growing by 4.42% annually. Already in 2023, a report by Morgan Stanley established that South Koreans are the world’s top luxury consumers, and even this year, according to Inside Retail, luxury was considered one of the most solid consumer categories in the country. It may not be a coincidence that many luxury brands raised their prices significantly this past February: as Korea JoongAng Daily reports, Cartier increased the prices of certain models by percentages ranging between 5% and 7%; Bottega Veneta raised prices by 5% to 10% in some cases; and Dior increased the price of one necklace model by 8%. «To compensate for losses in China, brands will instead focus on other Asian countries, such as Korea, Japan, and India.»

Here for the Stars, Not the Clothes

While fan culture has transformed fashion month into an increasingly global and digitalized phenomenon, questions arise about the true impact of this virality on brands. It is undeniable that the presence of idols and the subsequent enthusiasm of their fans have redefined the concept of media exposure: with a single show, a brand can dominate social media trends, securing viral mentions and spontaneous coverage that would have been unimaginable before. However, data already shows that the online narrative of a show often focuses more on the guest idol than the collection itself. In this scenario, are brands building an everlasting relationship with consumers, or are they merely chasing short-term exposure, driven by fans who may lose interest as soon as their artist signs with a different brand? The presence of an idol at an event automatically means a crowd outside the show, instant social media coverage, and a wave of content that amplifies the brand’s name. But the main risk is that, in the race for the highest number of mentions, EMV, and MIV, fashion houses may end up losing focus on fashion itself, turning runway shows into platforms for viral moments rather than spaces for creative expression. In the long run, will the idol ambassador strategy continue to hold up? If fashion keeps relying on celebrities as its primary attention driver, the biggest question remains: are fans revitalizing the system, or are they consuming it from within?