On 8 November 2023, I had the utmost pleasure of speaking at the Content Marketing Summit Seoul 2023 - a fantastic conference packed with insights from Korean and global experts.

I discussed the topic of K-Content in Marketing alongside my co-panelist Arthur Sabalionis, CEO of AJ Marketing with David Kyungsoo Kim, YouTube creator and CEO of the Korean Pizza Club as the moderator. I loved our conversation and decided that it deserved to be put down in writing (and slightly extended). I am only posting the questions I answered so please check out Arthur Sabalionis for his contributions. I hope you enjoy!

David: When you first came to Korea, what did you notice about K-content? What was unique about it?

I came to Korea in 2008 as a Korean language student so I wasn’t looking at marketing campaigns through a professional lens back then. Also K-pop, and thus everything-K, was still in its infancy with hits like BigBang’s 거짓말 (Lie) or 2NE1’s Lollipop being played everywhere. But, as a consumer I definitely remember the 2015 SSG.COM Corp campaign, 쓱 [pronounced ‘sseuk’], that I thought was just on another level. Visually striking and witty, it just stayed with you. It marked the beginning of a whole new era

David: Can you think of a good case/example where you were very impressed with the ads and content that were executed by a K-brand?

Sulwhasoo ’s newest line, the Ultimate S cream deserves a shoutout. Sulwhasoo has been proud of its Korean heritage since the beginning, but it has definitely upped its game with the newest Seoul flagship store, located in a beautiful Hanok [traditional Korean house]. But choosing the moon jar as the packaging shape somewhat seals the deal. The cream retails for USD 500 so it makes sense that they’d want to ensure a luxurious experience by referencing traditional arts.

To put it in a broader context, two Joseon era moon jars recently sold for USD 3.6m and USD 4.5m at a Sotheby's New York and Christie's New York auction respectively. These numbers speak for themselves – it’s not just local connoisseurs anymore that have an appetite for traditional Korean art. Korea's gone global. Suh Sungwhan, the late founder of AMOREPACIFIC – Sulwhasoo’s mother brand – was an avid art collector. I'm curious to see what else Sulwhasoo has in store, having access to one of the largest art archives in Korea.

David: Can you share examples of brands collaborating with Korean artists and artisans, and how this has impacted their marketing campaigns?

There’s a great number of noteworthy examples, but one of my favorites is the first Frieze Seoul 2022, where Saint Laurent exhibited works by the Korean artist Lee Bae. It was a huge art event, and we had this well-known luxury fashion brand at the center. The partnership was mentioned by the likes of Vogue or ELLE Magazine Korea, but was also on the covers of art publications. These types of marketing campaigns typically aim to elevate a brand’s profile and validate its authenticity and that's exactly what happened.

In terms of artisans, I think the partnership between Yeol, the Korean Heritage Preservation Society, and Chanel is one of the most prominent examples. They launched a program to support traditional craftsmanship and I honestly couldn’t imagine a better partner for Chanel. Yeol works with the most sophisticated artisans, who are simply sublime. Preserving cultural heritage is also a very noble cause so this initiative is a testament to Chanel’s dedication to the Korean market and helps further establish its legitimacy.

David: How do brands incorporate Korean culture into their products and branding, and what value does this add to their identities?

I'm very passionate about Korean modern art, so I will again focus on Korean high culture for this question. Some luxury brands have ongoing annual limited-edition series where they collaborate with artists to reinterpret their iconic designs. Louis Vuitton selected the now late representative of the Korean Dansekhwa movement, Park Seo Bo, to design one of the 2022 ArtyCapucines, alongside the well-known Japanese artist Kusama Yayoi. Park Seo Bo was the first Korean artist to ever be selected for the project.

But probably most impactful example is Dior’s Lady Dior line as the brand has a long history of working with Korean artists - for the first time in 2013 with Lee Bul, before Korean fine art gained global recognition. Quick fun fact: even though I am talking about fashion brands, Frieze Seoul is when the brands bring out the big guns – not at Seoul Fashion Week. Christian Dior Couture decided to host a Lady Dior Celebration exhibition at their Seongsu concept store for the duration of Frieze Seoul 2023. They showcased 42 reinterpretations of the Lady Dior bag created by 24 Korean artists, many of them the crème de la crème of the Korean art scene. It was not only a testimony to the brand’s authenticity, but also an amazing opportunity to create limited edition pieces, sought after by collectors and investors alike. The Seongsu concept store is also very Instagrammable, so they killed multiple birds with one stone.

David: Why do you believe that this is a great time to leverage the K-content opportunity?

All eyes are now on Korea – so marketers can not only reach local but also global audiences. K-content is one of the most commonly cited keywords by foreigners visiting Korea, as shown by an analysis conducted by the Ministry of Culture and Korea Tourism Organization. Let me revisit the Lady Dior example. All major luxury houses have a Korean K-pop artist or actor as their brand ambassador and not only for the Korean market. They know gaining access to the global fandoms amplifies their reach.

I think my favorite example is the marketing strategy-crossover that happened surrounding the Lady Dior exhibition. As Blackpink’s Jisoo is the face of Dior, she was also promoting the Lady Dior collaboration in an ELLE Korea editorial. Clearly touched by having his bag featured, the artist Ha Chong Hyun (another globally renowned representative of Dansaekhwa) gifted it to Jisoo, who then posted about the gift on her Instagram stories. Obviously, the fandom never sleeps, so the interaction was featured in organic fan content, discussing campaign, and sharing the artist’s profile with international audiences. Obviously, this scale isn't feasible for all, but it just goes to show how powerful K-content has become.

David: Lastly, what is the one tip you could give to a K-content marketer?

I think we all know that fads become whole national phenomena in Korea, like with Honey Butter chips, and thus it’s easy to kind of focus on these things that everyone and their dog knows about. But nowadays basically all aspects of Korean culture are benefitting from the global success of the Korean Wave. So learn, explore, and find something that truly resonates with you and make sure that whatever you choose feels authentic. There’s a sea of young creators out there and you’re sure to find something just for you.

P.S. For those less familiar with the Honey Butter Chips: Honey Butter Chips: Six things to know
"It seems like people would beg, borrow, and steal to get their hands on these chips, which the company describes as containing "sweet, sweet honey from beehives" and French "gourmet butter."

How do Luxury Brands Leverage Korean Art in Marketing?