Pinkabombom

Being a K-pop fan myself, I have always thought of discussion among fans taking place via platforms such as X (Twitter), Weverse, and Tiktok. Nonetheless, it came to my attention that the role of Tumblr within the K-pop fandom community predates those popular social media platforms currently known.

Tumblr also gained popularity because it connected people via mutual interests without the need for any real-world connections. The platform is very different from others because users do not need to communicate with family members, schoolmates, or workmates, instead, users can share their passion for their favorite K-pop groups and songs. Studies have indicated that online fan communities provide people an opportunity to form connections based on their common interest groups and identities, thus developing a feeling of community (Kim et al., 2023).

The aspect of these communities that catches my attention is that they serve as an example of micro-publics in the academic definition. Rather than having a single large public space, the members of these communities engage in smaller circles dedicated to individual subjects. With regard to K-pop, some of the fans who are in love with the band create micro-publics of their own. It has been found that individuals join small online communities since such groups offer very precise possibilities for interactions where individuals are able to form their identity as a collective entity (Hwang & Foote, 2021).

One reason for the success of Tumblr is the relative anonymity it offers to users. Many users were able to express their thoughts, ideas, and emotions freely, without the fear of being criticized and ridiculed. Therefore, Tumblr was used as an outlet for expressing their likes and meeting people from various places around the world with similar tastes and interests.

Tumblr had its own culture that developed due to the use of the platform. Communication between K-pop fans was conducted via GIF sets, fan edits, reaction pictures, memes, and reblogs, which created a unique culture of communicating in Tumblr that differs from the other social media sites. Hence, they create an interesting phenomenon in the world of digital media, which is important in digital communication and culture and has become an increasingly popular medium to express thoughts and information that are disseminated quickly through the internet and social media sites (Lestari et al., 2024).

Being an ardent lover of K-pop, it was fascinating for me to discover how much more there is to understanding online communities than simply technology. These are spaces where individuals can interact and bond over their mutual passions, and most importantly, be themselves.

References

Hwang, S., & Foote, J. D. (2021). Why do People Participate in Small Online Communities? Proceedings of the ACM on Human-Computer Interaction, 5(CSCW2), 1–25. https://doi.org/10.1145/3479606

Kim, M. S., Wang, S., & Kim, S. (2023). Effects of online Fan Community interactions on Well-Being and Sense of Virtual Community. Behavioral Sciences, 13(11), 897. https://doi.org/10.3390/bs13110897

I've learned from the K-pop fashion trends that it's very easy to go out of trend. Just a month ago, everyone was into oversized denim jackets🧥 just because an idol wore one when going to the airport. And now, they have switched to a new trend because they were exposed to some comeback pictures or stage attire. As a buyer, I might say that keeping up with the latest trends could be overwhelming at times and money😖Reflecting on my behavior in the past, I realized that buying too many clothes just to follow the latest trends might lead to overconsumption and even produce more trash 🗑️

The thing that really amazed me was the fact that slow fashion does not only mean wearing less clothes. It also means being aware of the impact that your decisions regarding clothing have on people and nature around you. The goal of slow fashion practices, which try to persuade consumers to practice sustainable consumption, is associated with the ability to seek alternatives that limit the harm done to the environment while retaining style (Domingos et al., 2022). However, this approach to production differs, since fast fashion emphasizes mass production of cheap clothing in a quick manner in order to adapt to current trends.

As I began to learn more about slow fashion, it became clear to me that not everything that’s inexpensive is necessarily cost-effective. Though a consumer may pay less money, they could be paying other prices, such as those involving high use of resources, pollution, and mistreatment of workers in the supply chain. This taught me to consider my purchases of clothing with greater care. It has been found out that fast fashion industry is causing environmental degradation and issues related to social sustainability, which shows the need for being responsible in clothing consumption Niinimäki et al. (2020).

Then there is also the idea of prompting consumers to concentrate on quality over quantity. Instead of buying a number of fashionable items of clothing which are bound to go out of style within a few months, consumers are encouraged to invest in clothes which they can wear a lot of times and style differently. And this again points to the idea that even those fashionistas – K-pop idols – often end up wearing the same clothes more than once or have a signature style of their own. These practices are typical of slow fashion culture which encourages mindful consumption (Castagna et al., 2022).

As a university student, I am still interested in browsing K-pop style inspiration, and I will probably continue to do so🤩 But since gaining knowledge about slow fashion, I have become more hesitant when pressing the "Add to Cart" button. Just because my favorite artist changes their look each week doesn't mean that I have to constantly be updating mine too. If we can dedicate hours of our time speculating about concepts for their next album release, surely we can spend a few minutes researching where these garments were produced and what our purchases mean to the world beyond ourselves😉The best choice for sustainable fashion might sometimes just be to admire and save the outfit😏

References

Castagna, A. C., Duarte, M., & Pinto, D. C. (2022). Slow fashion or self-signaling? Sustainability in the fashion industry. Sustainable Production and Consumption, 31, 582–590. https://doi.org/10.1016/j.spc.2022.03.024

Domingos, M., Vale, V. T., & Faria, S. (2022). Slow Fashion Consumer Behavior: A Literature Review. Sustainability, 14(5), 2860. https://doi.org/10.3390/su14052860

As a K-pop fan, I have found myself using Weverse a lot. This is a social platform designed to encourage relationships between artists and their fans (Bollmer & Tillerson, 2025). It could be through updates from the artist themselves, posting comments, or browsing conversations on fan accounts, but Weverse has always been a community for people with common interests. But then again, until lately, I never thought about what makes it run.

As for social media, most people will always be concerned with its content, with its idols, or with its fandoms. The thing we seldom consider about social media is its governance. Who controls the content? What happens if you leave hate comments on someone else’s post?

Nevertheless, as I continued using Weverse, I found out that some of the content posted would be removed after being reported. Moreover, the site has community guidelines that prevent individuals from using abusive language, making offensive comments, and engaging in other inappropriate behaviors. Content moderation has been a vital part of platform governance. As mentioned by Gillespie (2022), reducing visibility for problematic content may now be considered an integral part of platform management. Consequently, I learned that digital communities do not self-regulate themselves but are governed through moderation practices and community guidelines.

This is especially true in the K-pop fandoms since the idols themselves are usually the ones targeted by online bullying and trolling. Studies have shown that there can be different types of online harassment, such as spreading rumors that damage someone’s reputation and sending messages to harass (Haslop, O'Rourke, & Southern, 2021). In fact, fans have seen entertainment companies posting statements about taking legal actions against those who have been spreading ridiculous and over content towards the artists. Thus, Weverse even encourages users to report harmful behaviors within the community and offers moderating tools to lessen harmful interactions. Besides making sure that users are connected, the site also assumes responsibility for maintaining safety within the community.

Moderation also stands out because of the involvement of not only the platform itself but also the users who help ensure that there is moderation. It is common practice for fans to alert other people when they spot any content that might pose harm to other members of the community and to make sure that users interact in a way that is respectful. Fans do their part in ensuring that everyone abides by the rules established by the platform and ensures that everything remains positive. While moderation does not wholly depend on the actions of moderators, users themselves play an important role in ensuring the creation of a healthier environment for all.

In terms of considering Weverse, my initial impression was merely one that this platform was another form of social media where K-pop fans could express themselves and interact. Now, I have come to understand how governance functions in the context of the digital community. Fans may be interested in pursuing their favourite celebrities but there is a whole system at play behind closed doors to manage expression, participation, and security. If this did not occur, communities would become extremely chaotic.

Reference

Bollmer, G., & Tillerson, B. (2025). Platform fandom: Weverse and the technological domestication of fan community. Social Media + Society, 11(2). https://doi.org/10.1177/20563051251326689

While discussing AR filters, what most people instantly think about are the beauty filters. Personally, I imagine better skin texture, bigger eyes, and even the filters which make everyone look like they are always in the spotlight. Yet, while considering AR filters, my mind instantly goes to DK from SEVENTEEN😆

As a CARAT, there have been times when I have watched various videos where DK is playing around with the Snapchat filters while going live and even while being “bts” (especially during concert tour🤪) He does not pick the best ones which can make him look good, but chooses those filters which look extremely ridiculous and calls up other members who join him. Sometimes, he looks like a funny old man and then sometimes, he looks entirely different and “abnormal”🫪(but cute & funny enough)

Another interesting feature of AR filters was that they did not just eliminate certain aspects of an image. AR filter, otherwise referred to as augmented reality, is a technique in which the user’s environment is enhanced through the use of digital objects superimposed on real environments (Ibáñez‐Sánchez et al., 2022). Javornik et al. (2021) pointed out that AR filters have become increasingly common on social media platforms, providing individuals with multiple types of visual effects. I generally thought filters only worked on removing certain things, however, in AR filters, some filters work by adding some features instead of removing any aspect of the picture🖼️ The filters used by DK can be cited as an ideal example of such filters.

According to Von Der Au et al. (2023), AR filter is the integration of virtual objects in one's view of the real world, has been recognized as one area that could experience rapid growth in the future, particularly in marketing. Viewing the Snapchat filters of DK allowed me to grasp the idea better, since they give an example of merging a digital image on top of the actual appearance of the person. Filters such as those that include cartoon characters, animal ears, and other face modifications simply complement the real world with the virtual world and thus create an interactive combination of both physical and virtual elements, thus making AR technology exciting to use😎

An additional interesting element here is the possibility for the use of filters as a way of exploring identity via digital embodiment. Rauschnabel et al. (2022) said that AR technology allows the user to engage in activities that might affect self-representation. The discussion about filters usually centers around the idea of beautification or improvement of one's physical appearance. However, in the case of DK, Snapchat filters provide him with the opportunity to enjoy a more creative, amusing use of AR technology by allowing him to try on a variety of different digital selves without any intention of making himself look better.

Even more impressive about all these special moments is that fans get to play along after them. Screenshots, memes, videos, and clips soon fill X, TikTok, Instagram, and other fan forums. The mere addition of a Snapchat filter turns into an activity enjoyed by thousands of people.

Prior to exploring AR filters further, I perceived them as merely entertaining features used by people in social media platforms. However, as I understand now, they have the potential to foster creativity, expression, and engagement in the online sphere. Nevertheless, all theoretical knowledge that I acquired in the field of AR filters. Perhaps, that is what AR really does, making people or things together 🐶✨

References

Ibáñez‐Sánchez, S., Orús, C., & Flavián, C. (2022). Augmented reality filters on social media. Analyzing the drivers of playability based on uses and gratifications theory. Psychology and Marketing, 39(3), 559–578. https://doi.org/10.1002/mar.21639

Javornik, A., Marder, B., Barhorst, J. B., McLean, G., Rogers, Y., Marshall, P., & Warlop, L. (2021). ‘What lies behind the filter?’ Uncovering the motivations for using augmented reality (AR) face filters on social media and their effect on well-being. Computers in Human Behavior, 128, 107126. https://doi.org/10.1016/j.chb.2021.107126

Rauschnabel, P. A., Felix, R., Hinsch, C., Shahab, H., & Alt, F. (2022). What is XR? Towards a Framework for Augmented and Virtual Reality. Computers in Human Behavior, 133, 107289. https://doi.org/10.1016/j.chb.2022.107289

When I saw a statement on how communities develop both around the content and around the streamer for the first time, I immediately thought about Jungkook’s streams😌To begin with, the idea seemed strange to me, considering how livestreams can be connected to K-pop🤯 But then, Jungkook’s streams showed me that people were more interested in the streamer himself.

Previously, I believed that live streaming was done mainly by gamers, whereby they live-streamed their video game activities on streaming sites such as Twitch and YouTube Gaming. However, in recent times, a large number of K-pop bands have been using livestreaming contents through some specific social networking platforms🌐 Flores-Saviaga et al. (2020) highlighted that each streamer on these sites has their own channel, and it is usually through these channels that the streamers tend to go live and entertain their followers by either being present at an event, making art/music, playing video games, or just chatting through messages. Slowly, I realised that livestreaming is not only a medium for streaming content but also a platform that enables people to create, maintain, and nurture communities🧑‍🧒‍🧒

(Jungkook used to go online so often, in the middle of the night, to spend time and engage his fans👾 It surprised me because most of the time he doesn't organize anything fancy. He simply sings, listens to music, chats with fans, eats, or shares stories about his day.) Yet millions of viewers join each livestream despite the absence of any major event😳

Although this is a gaming discussion, I think that the same principle can be applied in relation to K-pop streaming fan communities. Gaming communities🎮 are social communities wherein people form bonds through a common interest in gaming, and these communities are typically defined by social interaction, communication, and a feeling of belongingness among their members (Pitroso, 2024). Fans or viewers come not only to see him but also to engage in communication with other people. Every time after the livestream, discussion goes on through various social media like Weverse, X (Twitter), TikTok, YouTube clips, and other fan pages. This reflects that users tend to oscillate between multiple social media platforms, utilizing their different affordances to meet their requirements (Wang et al., 2024)🧑🏻‍💻

Many ARMYs belong to other online fan communities at the same time. It is consistent with the concept of community participation by individuals based on their needs, suggested by Jenkins. Fans easily shift from one fan community to another while remaining active in all communities. Also, they share a lot of information through translation of Korean messages, decoding of culture-specific references, livestream summaries, and updates for those international fans who might not have caught the broadcast. According to Cruz et al., (2021), fan translations play a crucial role in making K-pop cultural content understandable across the world. All this contributes to building an informed community and participation of fans from other nations in the same community.

Thinking about Jungkook's livestreams has changed the way I view livestreaming. I used to think that it was an entertainment activity but am now aware that it is actually community building using the internet🥹 Whether it is a gaming streamer on Twitch or a K-pop idol on Weverse, livestreaming demonstrates how people can connect with others, exchange knowledge, and develop a sense of belonging in digital spaces. What may seem like a simple livestream often becomes a gathering place for an entire community💜

References

Cruz, A. G. B., Seo, Y., & Binay, I. (2019). Cultural globalization from the periphery: Translation practices of English-speaking K-pop fans. Journal of Consumer Culture, 21(3), 638–659. https://doi.org/10.1177/1469540519846215

Flores-Saviaga, C., Hammer, J., Flores, J. P., Seering, J., Reeves, S., & Savage, S. (2020). Audience and streamer participation at scale on Twitch. arXiv (Cornell University). https://doi.org/10.48550/arxiv.2012.00215

Pitroso, G. (2024). Beyond subcultures: A literature review of gaming communities and sociological analysis. New Media & Society, 27(11), 6359–6375. https://doi.org/10.1177/14614448241252392

Welcome back to Pinkabombom’s Blog. This year, the Met Gala was celebrated the other day with the stunning theme of “Costume Art.” Once the red carpet looks were released, I noticed how my social media were filled with amazing fashion from some really artistic designers from across the world. Every person who attended the event came prepared to stun everyone with daring silhouettes and interesting fashion concepts. But the most shocking and exciting moment of the night was seeing all members of BLACKPINK🖤🩷 appearing at the event as solo artists, shining individually. I can’t believe how proud BLINKS feel when they see them there representing their incredible power in fashion and music as individual artists. Their appearances quickly became one of the hottest topics across social media, proving once again the powerful global presence of BLACKPINK.

Met Gala is much more than just another fashion show. It has already been established as a digital community event. Previously, celebrity events were covered via TV and magazines. However, today we have entered the age of digital citizenship and platformization, when fans no longer just watch an event, they become part of it on a virtual level.

K-pop fans collaborate in a participatory culture where they actively create media and take leadership roles within their fan communities by producing and promoting content on social media (Roslan et al., 2024). According to earlier research by Kim et al. (2022), pro-social and responsible actions taken by SNS members outside of their official roles are referred to as SNS citizenship behavior. Thus, BLINKS engaged in meme-making, reposting livestream footage, debating fashion elements, translating interviews, and posting updates across various social media platforms. In some cases, fans were even quicker than official news sources. Seriously, K-pop fandoms need journalism degrees at this point.

And it’s here where the power of hashtag publicity comes. Omena et al. (2020) pointed out that using hashtags can convey local or international discussions, small or large events, and contentious or uncontroversial topics. Last night, hashtags like #BLACKPINK, #Jennie, #Lisa, and #MetGala2026 totally took over all of the social networking sites. People from all across the world who had never met each other suddenly found themselves interacting together online over dresses, hairstyles, luxury goods, and interactions between idols.

The other crucial idea mentioned was platformization. Based on James (2025), platformization is the process of changing daily interactions from offline to technologically mediated. They have evolved beyond being mere applications for communication since algorithms have become essential in defining users' media and cultural consumption online. TikTok consistently pushed BLACKPINK covers on people's For You Page feed, Instagram highlighted luxurious fashion content, while Twitter enabled users to participate in trending topics. People who did not consume K-pop music found themselves well-informed about BLACKPINK's Met Gala fashion despite their unwillingness (love Jisoo🪐 looks by Dior).

To sum up, BLACKPINK at the Met Gala is much more than celebrity fashion media. It speaks how digital community, hashtag public, digital participation, and platformization play roles in kpop fandom culture and global popularity. Social media have empowered fandoms, turning them into active content creators rather than passive consumers of content🌟

Anyways, Anna Wintour, can you invite my bias Kim MingYu from Seventeen after his military term ends in 2028👉🏻👈🏻

( BTW Isuccessfully secure the Asia Top Music Festival today to meet CxM🩵)

References:

James, S. (2025). Affective participation from the In-Between: the platformization of K-Pop fandom. Social Media + Society, 11(2). https://doi.org/10.1177/20563051251351390

Kim, J., Kim, K., Park, B., & Choi, H. (2022). The Phenomenon and Development of K-Pop: The Relationship between Success Factors of K-Pop and the National Image, Social Network Service Citizenship Behavior, and Tourist Behavioral Intention. Sustainability, 14(6), 3200. https://doi.org/10.3390/su14063200

Omena, J. J., Rabello, E. T., & Mintz, A. G. (2020). Digital methods for hashtag Engagement research. Social Media + Society, 6(3). https://doi.org/10.1177/2056305120940697

Welcome back GUYS! As a K-pop person surely you won’t miss any of the variety shows of your favourite groups. If you are a new Carat, I highly recommend you watch “ Going Seventeen” 🙋🏼. At first you may think that they are just a chaotic crazy variety show (cause mostly you will hear people screaming crazy😵‍💫), you are definitely WRONG❌ Aside from being funny and entertaining, Going Seventeen is a perfect representation of what modern-day fan culture is like in the age of the internet.

In the past when I’m a “newbie Carat”, being a fan meant just watching my favourite idols on TV, but now…. Welcome to the digital communities🥳✨ where fans connect, interact and share experiences and information all around the world. Based on Park & Srisuwan (2025), emotional resonance and community identity are becoming more important to these cohorts than conventional technical features and practical value. For the SEVENTEEN fanbase known as CARATs 💎 watching each episode of Going Seventeen goes beyond just watching videos since fans will always comment, post, and tweet on social media platforms about their finds and joys.

This is when participatory culture plays its role. Fans are not only viewers and consumers, they are the inspiration and producers. Jenol and Pazil (2022) pointed out that fans actively produce media content and play a social role in their respective fandoms as part of a participatory culture. Fans usually take their favorite part and recreate it into something entirely different, bringing out new things into the show outside the TV screen. Hence, everytime Internet will be flooded with memes, editing video and inside jokes after each episode, especially during Mafia games series (watch the reaction of a tame “tiger” Hoshi becomes crazy after knowing MingYu identity). By now, the fandom has become a part of the production crew… just for free.

The other major factor that makes Going Seventeen so attractive is because of interactivity. As soon as an episode comes out, fans will start posting comments, discussing their take on the show. The results show that real-time interactions and a sense of community across geographic boundaries are made possible by platforms like Twitter, Instagram, and TikTok (Shukri et al., 2025). This produces a shared emotional experience that is simply unmatched by traditional media.

SEVENTEEN, meanwhile, had played an important role in the entire show. They show their real personalities through the show that includes their funny and unpredictable side. Thus, social media users now actively contribute to the creation of content rather than merely consuming it, establishing a two-way communication channel by creating a strong powerful bond between idols and their fans (Shukri et al., 2025).

In summary, Going Seventeen is more than just entertainment. It reflects how fan culture today is interactive, creative, and deeply interconnected🥰

Before ending, HYBE when can I have my next series of GOING SEVENTEEN, I miss my Mafia Game🥲

References

Park, J. S., & Srisuwan, W. (2025). Influence of K-Pop Fandom Dynamics on Digital Marketing Strategies for Consumer Electronics in Southeast Asia.

Jenol, N. a. M., & Pazil, N. H. A. (2022). “I found my talent after I become a K-pop fan”: K-pop participatory culture unleashing talents among Malaysian youth. Cogent Social Sciences, 8(1). https://doi.org/10.1080/23311886.2022.2062914

Hey guys, a real quick discussion here! Have you ever noticed that the K-pop female idol groups over the past few years have been extremely skinny, like unreal level😱Initially, I believed it was due to styling issues, and after a few weeks everything would go back to itself. However, as I continued to scroll through my phone, I realized something was getting wrong and shocking me.

In social media, there is something known as aesthetic templates, especially in the K-pop industry. Nowadays, K-pop female idols are shaped by strict visual standards, where their image is influenced by industry control, with elements that “dictate all choices related to the group’s aesthetic,” reinforcing idealised beauty expectations (Grilo, 2022, p. 4). This is basically like an “ideal look" which defines what beauty should look like and everyone just follows blindly. For example, having a tiny waist, sharp features, long legs and others. For them who always appear in the spotlight, it would be necessary for them to follow the template since that has become the norm because it’s part of their job to control.

Next is the microcelebrity culture. Idols need to be “multitaskers”, not just performers. They are required to continuously develop and maintain an online “branded self,” in which their looks, especially every post of selfie, stage outfit and airport look are tailored towards the public consumption. This reflects how the K-pop industry systematically produces and manages idols as marketable figures, where their image and identity are carefully constructed for audiences (Lee, 2021). Their popularity usually depends on likes, views, and followers, so their appearance becomes a huge part of their “brand.” And let’s be honest, fitting into whatever beauty trend is trending (super skinny or muscularity standard) can definitely help them get more attention and hype.

An interesting formula comes out of my mind:

➡️More likes + more attention👀 = more success💡

But here’s the twist, it’s not just the companies or social media creating these standards, honestly it is us who did. As we know, algorithms love to push content that gets attention to users, and usually posts that fit beauty standards perform better. Hence,the more we like, share, and hype those visuals, the more the system will filter and say, “Okay, THIS is what people want the most”,leading to a cycle that continues. And then comes something called identity dissonance that cannot be avoided. That’s the gap between real bodies and what we see online. Based on Fardouly & Vartanian (2016), idols can even find it difficult to keep up with this image, and fans will eventually start comparing themselves, since “exposure to idealized images on social media is linked to body dissatisfaction and appearance comparisons.”

Ohhhh, during you’re scrolling social media posts and out of a sudden your mind thinking, “wow, I wish I looked like that,” maybe just pause for a second. Think carefully is it a MUST to become so skinny by harming our body🥺

Not worth it❌ Before ending, I’m curious… will someone stop this aesthetic fatigue?

References:

Fardouly, J., & Vartanian, L. R. (2016). Social Media and Body Image Concerns: Current Research and Future Directions. Current Opinion in Psychology, 9, 1–5. https://doi.org/10.1016/j.copsyc.2015.09.005

Grilo, C. C. (2022). Avatars, Sexualization and Affectivities: The Case of K-Pop Girl Group Aespa (Master's thesis, Universidade Catolica Portuguesa (Portugal).