Korean Street Fashion as Truly Popular Culture: The ‘PAEPI’ as an Interruption in the Discursive Formation of ‘HALLYU’ and the Special ‘K’
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Over the past couple decades, much ado has been made over Korean pop cultural forms receiving attention and critical acclaim outside of Korea. Both the pop culture products and the nationalist, media sensation around them have been lumped together and called a “Korean Wave” (hallyu), and coalesced into a “discursive formation” that makes obvious its place in the Korean national project and the culture industry. But as an actual form of truly popular culture, the “K” in the dominant examples of everything from K-POP to K-Cinema, and K-Everything becomes an increasingly meaningless signifier. This paper considers the singularly successful case of Korean street fashion, which has managed to gain worldwide recognition without (indeed, despite) the presence of state or culture industry actors. The paper explains how and why this form of truly ground-up, organically-formed popular culture came to be so successful within the international field before considering the ramifications of a closer look at a truly unique formation of community, consumption, and identity that started in the streets of Seoul. It also argues that street fashion is uniquely interesting in being successful without the major support of other institutions and culture industry actor and has come to constitute an important part of the hallyu phenomenon, yet actually does not resemble other forms of hallyu in terms of origin, execution, or path of critical reception.
Abstract
Over the past couple decades, much ado has been made over Korean pop cultural forms receiving attention and critical acclaim outside of Korea. Both the pop culture products and the nationalist, media sensation around them have been lumped together and called a “Korean Wave” (hallyu), and coalesced into a “discursive formation” that makes obvious its place in the Korean national project and the culture industry. But as an actual form of truly popular culture, the “K” in the dominant examples of everything from K-POP to K-Cinema, and K-Everything becomes an increasingly meaningless signifier. This paper considers the singularly successful case of Korean street fashion, which has managed to gain worldwide recognition without (indeed, despite) the presence of state or culture industry actors. The paper explains how and why this form of truly ground-up, organically-formed popular culture came to be so successful within the international field before considering the ramifications of a closer look at a truly unique formation of community, consumption, and identity that started in the streets of Seoul. It also argues that street fashion is uniquely interesting in being successful without the major support of other institutions and culture industry actor and has come to constitute an important part of the hallyu phenomenon, yet actually does not resemble other forms of hallyu in terms of origin, execution, or path of critical reception.
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