#digital communities

Hi, hello there, welcome back once more.

When it comes to conflict, I’m sure there’s no one more familiar with it than fans or fangirls. It really doesn’t even matter which fandom you’re in or who’s your favourite artist. It certainly isn’t something new in the Kpop fandom too.

If you know, you know. It’s that kind of situation here. We’re pretty well known for that on an international scale. If you know, you know. We’re well known for it internationally. Phrases like “never piss off a BTS Army” exist for a reason… and they’re not entirely wrong. But this reputation comes at a cost.

People fight over the smallest disagreements. Whoever wore the same luxury fashion piece better, which group has better recognition, whose bias has a better personality. Quite literally anything can be that little spark or trigger to set off conflicts in Kpop fandom spaces, especially on X (formerly known as Twitter). It’s the worst type of example to have here in my blog, because it shows how toxicity has dominated our fandom to the point it’s almost a part of the fandom culture, which to many non listeners or non enjoyers, this creates the impression that all Kpop fans are toxic and get into conflicts easily on social media.

I have a few notable examples or cases up my sleeve, and I think it’s a good topic for me to cover these real-life instances. Sulli from f(X), I feel she could be a good starter. Sulli sadly left us in the year of 2019, which was a year before I officially got into Kpop. But I remember hearing about it on the radio and watching news channels reporting her passing, and even when I didn’t even know about this radiant, lively woman, my heart ached for her.

Sulli has faced years of intense cyberbullying and public scrutiny. She was often criticised for her outspoken views on mental health, dating, and refusing to strictly follow the K-pop industry’s rigid idol standards. The constant hate comments, malicious rumours, and coordinated harassment on social media (and traditional media) created an overwhelmingly hostile environment for a free, burning soul like hers. Sulli was only 25 when she passed. She was young, still had a lot of choices and a good life ahead of her. While it is impossible to attribute her death to any single cause, many people, including mental health advocates and fans, believe the relentless online abuse and media pressure played a significant contributing role.

But what actually stood out to me whenever I came across Sulli’s case was how, after her death, netizens who had previously written harsh or hateful comments actively tried to defend themselves. Many claimed they were “just expressing opinions,” denied any responsibility, or argued that her death had nothing to do with online harassment. This reaction highlighted to me a very troubling phenomenon within the social media landscape; the refusal to acknowledge how collective toxicity on social media can have real, devastating consequences. To this day, it’s still so hard to fathom just how much Sulli has endured during her worst days, to the point this tragic incident had to happen for people to stop hating on her.

I feel as though a major reason why online conflicts in K-pop escalate so quickly and harshly is what psychologist John Suler (2004) termed the Online Disinhibition Effect. It suggests when people interact through screens, they tend to let go of normal social restraints.

Factors like:

Anonymity, the idea of hiding behind a username or a fake account, because then no one would know your real identity;

Invisibility, the fact that the other person’s facial expressions, tears, pain, or emotional reaction remains unseen and unfathomable;

Asynchronicity, the freedom of commenting just about anything (harmful or not) without having to deal with the immediate consequences or the other person’s response;

Solipsistic Introjection, the psychological effect that suggests one imagines the other person often as less real or less human than they actually are;

Minimization of Status and Authority, the idea that everyone feels equal in an online landscape, thus being able to attack and criticise freely despite of statuses in real life;

Dissociative Imagination, a psychological state where some people treat online spaces like a game or fantasy world, where their actions “don’t count” as real.

When put into context of Sulli’s case and the Kpop fandom in general, this effect is particularly dangerous. As Gorman (2014) notes, some trolls and harassers are more organised and impactful than we realise. The combination of passionate emotional investment, intense parasocial relationships, and group rivalries makes fans more likely to cross lines they normally wouldn’t. What sometimes feels like “just a comment” or “standing up for my bias” can become part of a massive wave of harassment that has real, sometimes tragic, consequences.

On an ending note, Fisher (2015) reminds us that conflict is natural, having opinions that differ is completely understandable and normal, but unresolved and toxic conflict, especially when amplified by algorithms and weak platform governance… Well, I suppose by now we know pretty well where it ends. The least we can do is try to make the spaces we share kinder.

References:

BBC News. (2019, October 17). Sulli: The woman who rebelled against the K-pop world. https://www.bbc.com/news/world-asia-50051575

Borowiec, S. (2021, January 29). Commentary: Who really killed South Korea celebrity Sulli? CNA. https://www.channelnewsasia.com/commentary/south-korea-celebrity-sulli-f-x-suicide-cause-death-1312966

Gorman, G. (2019, February 2). Internet trolls are not who I thought — they’re even scarier. ABC News. Retrieved June 11, 2026, from https://www.abc.net.au/news/2019-02-02/internet-trolls-arent-who-i-thought-ginger-gorman-troll-hunting/10767690

Fisher, R. J. (2015). Conflict and conflict resolution, social psychology of. In International encyclopedia of the social & behavioral sciences (2nd ed., Vol. 4, pp. 582–588). Elsevier. https://doi.org/10.1016/B978-0-08-097086-8.96006-9

Suler, J. (2004). The online disinhibition effect. CyberPsychology & Behavior, 7(3), 321–326. https://doi.org/10.1089/1094931041291295

Hi, hello there, welcome. I couldn’t really think of anything creative this time, so let’s go straight to the point, shall we?

Back in my good old childhood days of unsupervised internet access and usage, I was lucky to stumble upon Tumblr. I was in lots of fandoms at the time, which I shall not name, because 9 year old me was probably consuming things I wasn’t supposed to. Anyway, Tumblr was, if I recall correctly, one of the mainstream platforms used to share stuff about your favourite fandoms alongside Amino and DeviantArt. Even writing these two names down makes me feel old.

Kpop was, of course, one of the more niche fandoms back then during the mid 2010s, especially for international fans. Before the substantial success of BTS in 2018 and 2019, the Kpop fandom, like the animanga fandom, was pretty much frowned upon when mentioned in mainstream social media. That’s why they settled for Tumblr. That was my impression of this platform, when I was still a little girl obsessed with fictional characters (still am). Because Tumblr was always kind of a safe space in my opinion.

Tumblr thrived as a platform for niche communities precisely because of its structure: long-form blogging, tagging system, reblog culture, and relative anonymity. Unlike more mainstream platforms that prioritise algorithmic virality and polished content, Tumblr encouraged creative expression, deep discussions, and subcultural bonding, which was exactly what fans wanted: a thoughtful conversation, not just posting perfect pictures. It became especially important for the queer community. Many LGBTQ+ users found Tumblr to be a rare digital public sphere where they could explore identities, share resources, create fanworks with queer readings, and build supportive networks away from real-life judgment. As Çela (2015) notes, social media can function as a new form of public sphere, and Tumblr exemplified this for marginalised voices.

I’d say K-pop fans treated Tumblr as a vital outlet. In the mid-2010s, international fans used it to share high-quality photos, GIF sets, fan edits, memes, theories, translations, and long personal posts about their biases. Anyone could build aesthetic blogs, run fan accounts, or participate in fandom-wide events as long as you had an account and were willing to be part of it. Tumblr was also popular because it wasn’t like Twitter (X as of now, but we’re talking in context of the mid 2010s), which operates with fast-paced toxicity. Even today, K-pop communities on Tumblr remain spaces for thoughtful analysis, fanfiction, fan art, and archiving content that might get removed elsewhere. The platform’s reblog chain allows ideas and creations to spread while keeping the original creator visible, which grows a collaborative rather than purely consumptive culture.

Even though Tumblr isn’t as dominant in 2026 as it once was back then, for niche fandoms and communities, this platform continues to be a beloved space for us for blogging and genuine connection. In an era of short-form video and algorithm-driven feeds, Tumblr remains one of the few places where you can write long reflections (like this one!), share deep-dive analyses, and connect with people who share your exact niche interests.

As McCracken et al. (2020) highlight in A Tumblr Book, the platform’s culture supports creative communities and alternative forms of sociality. Van Dijck (2013) also reminds us that social media platforms actively shape how we produce and consume culture — and Tumblr has consistently shaped fandoms by prioritising expression over virality.

For me, Tumblr still feels like coming home. It’s slower, weirder, and more human — a digital community where K-pop fans (and many others) can celebrate their passions without performing perfection.

References:

Allison McCracken, Chapter 3 ‘Going Down the Rabbit Hole: An Interview with Amanda Brennan, Head of Content Insights and Social, Tumblr’ in a tumblr book: platform and cultures eds Allison McCracken, Alexander Cho, Louisa Stein, and Indira Neill Hoch (University of Michigan Press: 2020) https://doi.org/10.3998/mpub.11537055

Çela, E. (2015). Social Media as a New Form of Public Sphere. European Journal of Social Sciences Education and Research, 4(1), 195. https://doi.org/10.26417/ejser.v4i1.p195-200

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

Hi, hello there, welcome in welcome in. Yes, it was intentional to put two of them.

Speaking of gaming. How do I connect gaming and live streaming to Kpop, you may ask? Well, I have my own ways. So l’d appreciate a small fraction of your attention and time to read my blog.

Kpop idols are human too, and it's not necessary that their only passion and hobbies in life are dancing and singing. #beinganidolismypassion perhaps. In the big 2026, most of the active groups and solo artists out there are Gen-Z, they grew up around the same time with many of us, with similar exposure to technology and media, and dare I say, a lot of them are as addicted to their phones and computers as we are, so of course a few of them have to be gamers.

There are tons of idols who are gamer boys and girls, and have their own favourite games. Many of them have live-streamed themselves playing too. Le Sserafim’s Sakura (now stage name being Miyawaki Sakura), has her own gaming channel on YouTube, @/ちゃんねる宮脇咲良, her viral videos surround her playing Fortnite and Apex Legends. Ateez’s Yunho is a certified Radiant player on Valorant, and has live-streamed the game on their group’s YouTube channel. Jeonghan and DK from Seventeen have streamed themselves playing Korea’s most popular MMORPG MapleStory on Vlive back in 2020. Zerobaseone’s Matthew has uploaded gameplay videos on their group’s channel as well, and we’re getting a personal channel very soon, according to Matthew himself. There’s actually so many examples I could list, but for the sake of the length of this blog, I’ll keep it short here (It’s not really that short though).

So, I believe I’ve proved my point how Kpop can be connected with gaming. But obviously, it’s a lot more than just *playing* the games.

Gaming has evolved into a deeply social activity where people bond, compete, celebrate wins, and support each other after losses.

Putting into a fan’s perspective, my idols gaming is more about forming real relationships, shared experiences, emotional support, and community building through digital games. Because when we’re watching them play their favourite games, we get to see them as regular people, not polished performers. Sure, they still need to maintain a professional demeanor in front of the screen, but gaming provides a more dynamic kind of experience, because most of the time incidents, or other situations in games happen so suddenly, and that is precisely what gives us the most natural reactions by these otherwise perfect idols.

A recent systematic review by Gonçalves et al. (2023) confirms that social gaming significantly contributes to social connection, stress relief, and the development of meaningful relationships, especially in online environments. In the K-pop world, when idols stream games, this dynamic becomes even more powerful. T.L. Taylor (2018) describes live streaming as “broadcasting ourselves,” creating a sense of intimacy between streamer and audience.

This, I feel, creates a unique type of parasocial relationship, not in the bad way most of us would usually think of, it’s the type of bond that feels more authentic than typical fan-idol interactions. Fans get to witness idols’ personalities in a relaxed setting — their competitiveness, sense of humour, frustration, and joy, basically, what makes them human, instead of just being porcelain dolls on stage.

Chia et al. (2020) discuss platformisation in gaming — how platforms like YouTube, Twitch, and VLive shape not only gameplay but also community dynamics. When idols stream, they become part of these larger gaming ecosystems while simultaneously expanding their own fandom communities.

For some, gaming and social gaming bridges a gap between idol-fan relationships, because there are also instances where idols would invite fans to game *with* them. This allows closer interaction between the two, because it doesn’t matter if you’re playing alongside your idol or against them, it would still be a magical experience. It’s never even about the game or the gameplay itself, it’s the experience and the idea of playing with someone who you usually admire from afar. And the realisation that our idols’ hobbies and passion around gaming and such makes them more alive and human than when they’re in “idol mode” hits real hard in the gut.

And that, my dear readers, is Gaming, Social Gaming, and Live Streaming for you.

Do you perhaps have a favourite idol who games? Soyeon from I-dle? Maybe WayV? Or Animal crossing lovers Inc (NCT Taeyong, Ateez Seonghwa, TWS Jihoon, the list goes on).

Just a reminder, we’re not talking about Faker here, that’s in another league (wink). Anyways, lemme know :>

References:

Chia, A., Keogh, B., Leorke, D., & Nicoll, B. (2020). Platformisation in game development. Internet Policy Review, 9(4). https://doi.org/10.14763/2020.4.1515

Gonçalves, D., Pais, P., Gerling, K., Guerreiro, T., & Rodrigues, A. (2023). Social gaming: A systematic review. Computers in Human Behavior, 147, 107851. https://doi.org/10.1016/j.chb.2023.107851

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

Hi, hello there. I’m making my comeback on Tumblr lolol.

So, Kpop has never been a stranger to body modification. I’m used to it, and a lot of people are too. Idols get procedures, surgeries, to make their faces look better, to align more with the Korean Beauty Standards (Yes, there’s a whole list for it).

Some of my idols went through procedures too, maybe some of your idols did too, I will not name any names for the sake of my own digital footprint.

But holy, kpop doesn’t quite stop there. They don’t call the entertainment companies factories for no reason. Other than just getting facial plastic surgeries, an average idol, no matter the gender, has been put through a tough diet schedule. Now, you can argue that your idol hasn't got surgery, but can you truly say that your idol has not been forced to lose weight so that they look better on camera? I don’t think so, unfortunately. The reality of the Kpop industry is as cruel as it’s all glitter and sparkle on camera.

I’d like to mention the IU diet. Anyone familiar with this? It was back in 2013 when solo singer-actor IU revealed in front of the TV about a diet she went through when she was preparing for her album: one type of fruit for breakfast, such as an apple or a banana. And then having a small portion of sweet potato or brown rice for lunch and dinner. It sparked conversations on the internet and social media back in that time. Lots of young girls were adopting this unhealthy diet at the time, which made this diet go even more viral than it’s supposed to be. Many were consuming under 400–500 calories a day.

Research has shown this is part of a larger issue. Lin and Raval (2020) examined body image and appearance management behaviors among South Korean women, highlighting how sociocultural pressures drive extreme practices. While Laughter et al. (2023) connect social media aesthetics to body dysmorphic disorder, noting how constant exposure to filtered, idealized images worsens insecurities.

IU's diet in graphic.

I feel like this is a perfect example of how digital platforms amplify body modification trends. What idols share (or what gets shared about them) doesn’t stay private, it never does— it gets spread like wildfire, then it shapes perceptions, influences behavior, and suddenly it’s spreading unhealthy standards.

Korean beauty standards are heavily promoted through K-pop’s visual culture. Studies show that exposure to these ideals via music videos and social media contributes to negative body image, increased desire for cosmetic procedures, and even body dysmorphic tendencies (Laughter et al., 2023; Lin & Raval, 2020).

And the worst thing about this is that it’s not happening only within Korea. Social media doesn’t respect borders. A girl in Malaysia, Brazil, the US, or Nigeria can spend hours daily consuming perfectly edited K-pop content. Algorithms act as the fertiliser for these harmful practices like unhealthy diets and plastic surgery trends, pushing such content more onto the recommendations page of teenagers’ social media platforms (yes, it’s not only girls), creating an echo chamber of idealized images.

We consume these perfect images daily on visual platforms like Instagram, TikTok, and YouTube. So when idols’ diets or “glow-ups” trend, they don’t just entertain; they set dangerous benchmarks for young people, especially those who aren’t able to differentiate the good or bad for themselves. They look up to these sparkly idols on stages, and they’ll try to mirror their way of doing things in hopes of being more like them, often unaware that these decisions might hurt them mentally and physically. Dorfman et al. (2018) highlight how plastic surgery-related hashtags on Instagram are used for both education and marketing, often normalising procedures among young people. Mackinney-Valentin (2013) further discusses how subversive (yet still narrow) beauty ideals in fashion and media create pressure to conform.

Digital citizenship comes into frame here where we’re responsible for how we engage with and spread content around body image and health. It’s absolutely normal to post and appreciate, or even be envious of our idol’s beautiful faces, perfect body and physiques, but we might want to think twice if this discourse is shaping any dangerous mindset or worldview to young adolescents who are still navigating their way into life and forming self-esteem. Maybe it’s about time we can be more accepting of normal, healthy bodies (even if they look a little chubby on camera due to distortion) in the Kpop world. Yet again, this conversation has been dragging for years with little improvement.

So have you ever tried these extreme idol diets? I mean, I could never LOL. I have the worst perseverance.

References:

Dorfman, R & Vaca, E & Mahmood, E & Fine, N & Schierle, C 2018, ‘Plastic Surgery-Related Hashtag Utilization on Instagram: Implications for Education and Marketing’, Aesthetic Surgery Journal, vol. 38, no. 3, pp 332–338.

Laughter, M.R., Anderson, J.B., Maymone, M.B.C. and Kroumpouzos, G. (2023). Psychology of Aesthetics: Beauty, Social Media, and Body Dysmorphic Disorder. Clinics in Dermatology. doi:https://doi.org/10.1016/j.clindermatol.2023.03.002.

Mackinney-Valentin, M 2013, ‘Face value: Subversive beauty ideals in contemporary fashion marketing’, Fashion, Style & Popular Culture, vol. 1, no. 1, pp. 13–27.

Lin, KL & Raval, VV 2020, ‘Understanding body Image and appearance management behaviors among adult women in South Korea within a sociocultural context’, International Perspectives in Psychology, vol. 9, no. 2, Hogrefe Publishing, pp. 96–122.