Plus Magazine

| Written by Han Seong Hyun (Editor for the music webzine IZM)

Korean-style Teen: Its Meaning and Lineage

The primary age range of K-pop idols, especially girl group members, is from the mid to late teens to the early twenties. Moving away from past themes like sexy concepts and the girl crush motif, today's 4th generation girl groups have rapidly embraced the “Teen” image, characteristic of those in their mid-teens to early twenties. Their songs primarily revolve around themes of young girls' friendships and romantic relationships. In terms of fashion, their style is marked by a freedom and flair distinct from adult wear, often bearing resemblance to school uniforms.

Over the years, the Teen image adopted by K-pop has been heavily influenced by Western imagery. Traces of movies such as ＜Clueless＞ (1996) and ＜Mean Girls＞ (2004) can be seen in Sunmi's ‘You can't sit with us’ and YENA's ‘SMILEY (Feat. BIBI)’. Even in 2023, aespa's ‘Spicy’ was filled with imagery reminiscent of American high schools, such as outdoor swimming pools and locker cabinets. (G)I-DLE also adopted a similar concept in their sequential music videos ‘Allergy’ and ‘Queencard,’ paying homage to elements from ＜White Chicks＞ (2004). The backdrop NMIXX used for ‘Roller Coaster’ was similarly styled after American high schools and suburban neighborhoods.

Within the trend of K-pop girl groups' Teen culture, a contrasting concept is gradually being employed. This emerging concept is known as “K-Teen”. Perhaps embedded in this term is a sense of fatigue towards the Western-based Teen culture, which feels somewhat detached from reality, and a wariness of the cultural hierarchy that K-pop subtly exhibits. In this regard, while K-Teen encompasses the sentiments of teenagers in the same way, its mode of expression adopts and at times emphasizes distinctly Korean elements.

A prime example and arguably the starting point of the Korean-style Teen lineage is the girl group GFRIEND, who debuted in 2015. Their so-called ‘school trilogy’—comprising ‘Glass Bead,’ ‘Me gustas tu,’ and ‘Rough’—actively showcased Korean characteristics much ahead of their time. In their music video for ‘Me gustas tu,’ the destination the six members sought for their summer vacation wasn't a distant overseas beach, but a Korean countryside and a small shop selling ice cream. Similarly, their music video for ‘Rough’ resonated with Koreans by featuring familiar locations like domestic university campuses and bus stops, presenting a snow-filled winter graduation theme.

In December, the girl group NewJeans featured a school uniform theme in their ‘Ditto’ music video. The overall visual aesthetic of their video closely resembled Korean student dramas produced in the late 1990s to early 2000s. The nostalgic sentiments echoed in the tvN drama series were mirrored in the use of old camcorders and feature phones. As seen when Billlie, who previously adopted thriller or fantasy worldviews, shifted their setting to a school classroom and gymnasium in ‘EUNOIA,’ it's evident that the Korean-style Teen has ascended as a core trend in K-pop of the 2020s.

tripleS's Construction of Korean-style Teen and Realism

Last October, the newly debuted K-pop girl group tripleS also continued the trend of Korean-style Teen. Their first unit, Acid Angels from Asia, showcased a music video for ‘Generation’ that captured familiar scenes for Koreans, such as the Seoul Subway Line 5 and urban streets. Their first full-group song ‘Rising’ also featured familiar settings like local buses, convenience stores, and apartments. In May, their second unit +(KR)ystal Eyes' releases ‘Cherry Talk’ and ‘Touch’ repeatedly utilized familiar images to Koreans, such as calligraphy academies and schools.

The third unit of the group, LOVElution, released the title track ‘Girls’ Capitalism,’ and its teaser video was shocking from the start. Before the members' primary appearance in the video, scenes from a photo shoot were showcased at a studio with girl scout troops, student bands, and a group of children from a Taekwondo academy. Through this, one could once again identify the everyday and distinctly Korean themes. This is not a sight commonly found in girl group music videos.

This reveals why tripleS cannot be simply categorized as just “Korean-style Teen”. While the structure that combines Korean elements with the culture of late teenagers is consistent, their music videos are profoundly “realistic”. A factor that intensifies this realism is the frequent appearance of digital devices and applications in their music videos. In ‘Generation,’ the members record their choreography with the TikTok application and interact with people through Instagram Live. Similarly, in ‘Rising’ music video, they watch videos together on a computer, and in ‘Cherry Talk,’ they share stories and friendships through chat applications. In this way, they reflect the current teenage peer culture in their music videos, enhancing the authenticity of the portrayal.

In other words, there is a clear connection between the world captured on camera and reality. In NewJeans' ‘Ditto,’ the group members served to evoke the viewer's memories, and in Billlie's ‘EUNOIA,’ the school setting, while superficially different, retains its original worldview. In STAYC's 'Bubble', after the initial dormitory scene, the setting transitions to a virtual amusement park. Unlike other groups that present a distant world, tripleS portrays girls who seem so real that they might just be living next door.

Another factor that heightens this distinction is their interaction with others. Unlike most idol group music videos that shine the spotlight on the group members and use others as mere props in the background, ordinary citizens appearing in tripleS's music videos often intrude into the group's world. In ‘Generation,’ four members engage in a chase with a subway manager, experience a disruption in their video shoot due to passing pedestrians, and timidly dance in an elevator filled with office workers, being considerate of them. ‘Cherry Talk’ takes this a step further by exclusively featuring Yoon Seoyeon's younger brother and Kim Soomin's calligraphy academy principal. In tripleS's universe, ordinary people aren't just background NPCs or props to accentuate the members; they are portrayed as genuine “living, breathing” entities.

The music video for ‘Girls’ Capitalism’ reemphasizes that the group's identity leans closer to “realism” rather than K-Teen. Visually, elements like the members' Emo/Goth fashion, the blue-colored bathroom, and a restaurant with an interior that resembles an American style stand out, differentiating it from the aesthetics of idol groups’ previous music videos. Western imagery is strikingly presented, complementing Korean elements such as the introductory photo studio scene.

The essence of their message is not just in the manner of expression, but more deeply in the sentiment. The slogan from their video, “Rules for Mad Money Club,” echoes typical teenage concerns about money and recent trends in Korea, like the ‘No-Spending Challenge’ and the chat application-driven culture of ‘The group chat for broke people’. Expanding one's perspective through the lyrics, the contemporaneity they've expressed becomes even clearer. Phrases like “Cute is now boring,” “All pretty things are mine,” and “I'll love myself more in the mirror” may seem childish, almost like the flawed self-improvement quotes that could appear on an Instagram feed, but considering it's targeted at a teenage audience, it's rather authentic. In the past, TWICE also presented relatable lyrics in songs like ‘CHEER UP,’ ‘TT,’ and ‘LIKEY.’ However, due to their fantasy concept, the focus was more on engaging the listener's ears and eyes than on the content of the lyrics. In contrast, tripleS successfully merged the concept with the text, effectively bridging this gap.

There's a distinct temperature difference in the ways one is objectified. The voyeuristic view inherently embedded in various mediums such as movies and dramas was the same in K-pop girl group music videos. Consequently, even when these group members asserted their individuality, they inevitably became subjects of this voyeuristic gaze. They are captured in a pristine and flawless manner through the lens, not as real individuals but as tangible outcomes of someone's imagination.

While tripleS is also not exempt from objectification, based on the flashy visuals and the typical young girl image showcased by the media, a unique perspective added within their music videos sets them apart. The glances from students in uniforms directed at the members waiting for a bus in ‘Rising,’ and the expressions of other patrons in ‘Girls' Capitalism’ who oddly look at the joyous group in a restaurant, portray tripleS not as perfect beings but as somewhat peculiar ones. It's a mechanism that adds vitality and relatability to the characters.

The ‘not-so-different’ aspect of tripleS considerably lightens the gravity of the imperfections the group shows. They do not aim to be flawlessly refined professionals. Rather, they come across more like the everyday students you might run into on the street or, as portrayed in ‘Rising,’ a dance club team practicing diligently for their future. This depiction emphasizes outstanding performance as a value the group should strive for. However, it also suggests that even if their stage presence is imperfect, it's still acceptable. It prompts a reevaluation of the foundational concept of idols where exceptional skill is demanded even at a young age.

Dismantling the Idol Concept

Much like the term ‘idol’ implies, it was common for idols to offer an image that teenagers aspired to “emulate”. As a result, they often showcased an otherworldly, nearly fantastical image, and occasionally delved into intricate universes. After ITZY's debut, rooted in the “girl crush” concept, the theme of agency surged as a major keyword for fourth-generation groups. This theme, with its mysterious visuals and members being elevated to almost heroic figures, can be aptly described as a form of romanticism. Imagine aespa battling in a desolate digital world or NMIXX exploring unknown realms, and it becomes clearer. A quintessential example is IVE's ‘LOVE DIVE’. In a world drenched in pink mystique, the members dance, embodying mythical beings akin to Cupids. It's a realm utterly disconnected from reality.

It becomes even more intriguing when comparing with LOONA, previously produced by Jeong Byunggi, the representative of tripleS Modhouse. LOONA not only created a profound universe where each member was designated specific symbolic colors, fruits, and animals, but in "Butterfly," they strongly highlighted universalism by featuring women of various races from around the world. The song's message also encouraged to “Fly like a butterfly” and to move forward. In contrast, tripleS is the perfect antithesis. Instead of presenting an ideal to aspire to, they already embody it.

Of course, there are limitations. The songs, lyrics, and images are fundamentally influenced by adults, rather than their peers, meaning they might not perfectly mirror the authentic experiences of the young girls in the group. To be consumed as idols, only appealing traits are extracted and reprocessed, and naturally, the image of teenagers portrayed in the videos is a refined and tailored result that caters to general public expectations.

However, with tripleS's realistic approach, there's an expectation that they could potentially bridge the vast gap between idol culture and genuine teenage culture. How much closer can K-pop bridge the divide between reality and illusion? Even if it might be impossible, it's clear that tripleS is taking a step towards that direction.
 

※ Manuscripts from outside writers may not reflect the editorial direction of this magazine.