table of contents
1. New Jeans (뉴진스)
The visuals for all the works released so far have been overseen by a creative director who comes from a graphic design background.Min Hee-jinThe visual system, which uniquely interprets Y2K and Newtro, connected everything from the logo to the packaging, photo cards, and merchandise, creating a unified worldview. I think it's only because of Min Hee-jin that you can see and hear the essence of NewJeans in everything, so like everyone else, I'm curious to see what happens to this group in the future.
Case 1:Bernice
The rabbit character is the trademark of New Jeans. Creative direction byNayeon KimMr. [Name] did the character design and animation for Rang from the band Ashmute (designer name:YeongIt was designed by [Name of artist/person]. It's consistently used on penlights, merchandise, and even album packaging, becoming an icon that connects the group and their fans.
Case 2:Collaboration with Takashi Murakami
In the music video for "Right Now," a track from their Japanese debut single "Supernatural," contemporary artist...Takashi MurakamiA collaboration with Min Hee-jin. Apparently, Murakami himself was originally a fan of NewJeans, and the collaboration came about through his interaction with Min Hee-jin. A character that combines Murakami's trademark "flower" with a bunny appears in the collection.
2. f(x)
Although the group has already ceased activities, f(x)'s creativity is an indispensable part of any discussion of K-POP. Min Hee-jin, whom I mentioned earlier, actually worked with f(x) during her time at SM Entertainment (hereinafter referred to as SM). As SM's visual and art director at the time, her approach of creating a single visual story from production to promotion, not just album covers, seems to have influenced her later work with New Jeans. The fact that their creativity is still talked about even years after their activities ceased may be a testament to the timeless nature of their work.
Case 1:Pink Tape (2013)
The second album garnered attention for its unique packaging, which mimicked a VHS tape. Min Hee-jin herself said, "It was my first time, so I couldn't spend a lot of money. Budget doesn't correlate with results. I wanted to do it quietly and enjoyably." This album seems to demonstrate that what you find interesting is more important than how much money you invest.
Case 2:4 Walls (2015)
To coincide with the album's release, we held an art exhibition at a gallery in Itaewon, Seoul. We created an installation that projected videos and images of each member onto the walls, ceiling, and acrylic panels. The idea of planning a gallery exhibition as a promotion for a music album still seems fresh even 10 years later.
3.BTS
BTS, the globally active K-pop boy group, has a series-like design for their albums such as "The Most Beautiful Moment in Life," "Love Yourself," and "Map of the Soul," which are not self-contained stories. The narratives continue across albums, and the packaging and photobooks are also created as part of that worldview. Designing such a story feels more like the approach of a film or novel than music. This design, which makes you want to follow the series, may be one of the factors that made BTS a globally talked-about presence.
Case Study 1: LOVE YOUSELF Series (2017-2018)
The branding for the four-part series was handled by a Seoul-based brand design studio.HuskyFoxThe design, which expresses the "stages of self-love" through a color system, is also the first work by a Korean artist to be nominated for a Grammy Award in the Best Recording Package category.
Case Study 2: MAP OF THE SOUL: 7 (2020)
Seoul design studioSparks EditionThe cover of the final installment of the MAP OF THE SOUL series, which was designed by the group, features a structure created by layering seven different "7" characters. Each member chose their own "7" font, and when layered, it tells the story of the group over seven years. The idea of the members themselves participating in the design was an unusual approach to K-POP album production at the time.
4. LE SSERAFIM
The group's name is an anagram of "IM FEARLESS." The name itself embodies the group's visual philosophy. Their stance of directly confronting haters and criticism is consistent in their lyrics, and this strength as a brand is reflected in their visuals. The visual system at their debut was handled by HuskyFox, who was mentioned earlier. It's interesting how they fully incorporated the meaning of their group name into the design, using only a black and white color palette and a brand mark composed of 10 diagonal lines.
Case Study 1: ANTIFRAGILE (2022)
The album's visuals are inspired by the art of kintsugi, with artwork featuring gold cracks against a black background, drawing inspiration from the aesthetics of kintsugi, the art of repairing damaged pottery with gold. The visuals perfectly capture the album's theme of becoming stronger through hardship. The artwork was created by Sparks Edition, whom I also mentioned earlier in the section about BTS.
Case 2:SPAGHETTI (2025)
The promotion began with an unprecedented teaser: existing album covers on streaming services were suddenly replaced with images covered in spaghetti sauce. The album itself is packaged to resemble a spaghetti box, with the average listening time listed like the cooking time for the noodles, and the lyrics designed to look like nutritional information labels, demonstrating meticulous attention to detail in creating the world of the album. Furthermore, some versions include a dog-shaped stress ball made of spaghetti, making you wonder just how freely the concept of a CD can be manipulated. In addition, the pop-up store "THE HOT HOUSE," held in conjunction with the release of "HOT," won the Branding and Communication Design category of the iF Design Award 2026, becoming the only K-POP company to receive the award.
5. KATSEYE (캣츠아이)
KATSEYE, a group jointly launched by HYBE and Geffen Records (Universal Music Group), fuses the K-POP production system with the marketing of major Western labels. Composed of members from the Philippines, South Korea, Switzerland, and the United States, the visual system is handled by HuskyFox, a familiar name at HYBE. The custom typeface, a metaphor for the cat's eye stone (the origin of the group's name), and the symbol mark, which balances hardness and softness, were featured in the brand design media outlet Brand New. Following KATSEYE's success, a second group, SAINT SATINE, was launched under the same structure. This model of combining K-POP production systems with Western labels is becoming increasingly established.
Case 1:Gnarly (2025)
The music video for this work, which garnered attention for its chaotic visuals that deliberately deviated from the sophisticated visuals typical of K-POP, was directed by American visual artist.Cody CritcheloeDespite a mixed start, it went on to become a global viral hit and made its debut on the Billboard Hot 100. I believe it was an attempt to show that KATSEYE was "not just another K-POP group" by deliberately breaking the "conventions" of K-POP, rather than simply reinforcing what K-POP is.
Case 2:BEAUTIFUL CHAOS (2025)
The album package was released in two versions: "Beautiful ver." and "Chaotic ver.".Kim BohuyThe visuals created by [artist's name] are fascinating because they combine two completely opposite visual tones—orderly beauty and raw energy—and each works as a separate album. The choice of which to listen to is an integral part of the fan experience.
6. NCT
Initially, NCT embraced the concept of "infinite expansion." This was an unprecedented approach in K-pop, with no fixed members and a continuous increase in subunits. NCT 127, NCT Dream, NCT U, WayV, NCT Wish… the number of units has indeed continued to grow, and the group currently comprises 24 members. Creating a "visual system that works as NCT" while members and units are constantly being rearranged must have been a rather unique design challenge.
Case 1: NCT 2018 Empathy (2018)
A design studio based in Seoul and New York.Ordinary PeopleThe packaging for NCT's first full album, designed by [studio name], features bold, kinetic typography combining Hangul and the Roman alphabet. The studio also has a track record of collaborations with the Japanese graphic design magazine IDEA Magazine, and is known within the Korean graphic design scene for its international perspective.
Case 2:NCT 127 Custom Font
London-based creative studioMMBP & AssociatesHe was in charge of the creative direction for the albums 'Regular-Irregular' and 'Regulate', and together with typographer Carles Rodrigo, created the custom typeface 'NCT 127 RegularI designed the font for this album. This typeface, in which I designed not only the logo but also the glyphs for the entire alphabet, was created specifically for the album, which I think was an unusual undertaking even at the time.
7. aespa
Just as NCT, also under SM Entertainment, experimented with group design, aespa also debuted with a unique worldview typical of SM. The concept of each member having a virtual alter ego "æ (Eye)" and the intersection of reality and the virtual world "FLAT" was quite a bold idea for K-POP at the time. Although that concept is less prominent now, their visuals have evolved to be closer to high fashion and art, and I think they are a group that maintains a unique position within K-POP.
Case 1: Spicy (2023)
The song "Spicy" from their 3rd mini-album "MY WORLD" features 3D artwork by Oh Soo-hwan, based on the concept of "unusual phenomena occurring in reality." The creative concept was handled by Song Sae-rom and Lee Soo-jin. The 3D logo, album jacket, and music video are all produced with a consistent visual style.
Case 2:Whiplash (2024)
This work marks a significant shift from the previous vibrant and information-rich visuals to a high-fashion style based on white. Under the direction of Chief Director Jo Woocheol, the photographer...Choi NaranMr./Ms., for set stylingNomess, DJ booth designPark Ki-PyeongWe have individually hired experts in each field. Also, in the concept photos for this album, the virtual avatar "æ" makes a visual appearance for the first time in a while. 3D artwork isPark JinbeomWithJon SánchezWith [Name of artist] in charge, her appearance, clad in a full metallic silver outfit, represents a significant shift from the anime/game character-like style of her debut to a more fashion- and art-oriented expression.
8. ATEEZ
ATEEZ, a group under the mid-sized label KQ Entertainment, is expanding its visual presence on a global scale. Their album packaging is designed by Ordinary People, the same company that designed NCT's albums, and they were the first K-pop boy group to perform at Coachella in 2024, demonstrating their serious commitment to creative investment. In an industry where large labels have a significant advantage, this is a fascinating case of how creative investment is boosting an artist's strength.
Case 1:GOLDEN HOUR: Part 2(2024)
The design was handled by Ordinary People, who also worked on NCT's Empathy. Based on the visual concept of "Every Loving Hour," the design centers around a clock motif. The ATEEZ logo, composed of 12 radiating lines, symbolizes the flow of time, while the 8 extending lines symbolize the existence of each member. The entire package, including the three color versions—Metallic Red, Platinum Gold, and Holographic Silver—is designed as a "touchable experience" based on the concept of light and time.
Case 2:Coachella 2024
ATEEZ became the first K-pop boy group to perform on the Coachella stage. Their choice to use traditional Korean visual elements on a global stage was impressive, including a giant flag adorned with the Four Symbols (Azure Dragon, White Tiger, Vermilion Bird, and Black Tortoise), background graphics inspired by mother-of-pearl inlay (najeong) work dating back to the Three Kingdoms period, and a collaboration with performers from Bongsan Mask Dance. Rather than diluting their K-pop style in front of a massive American audience, their decision to highlight their Korean identity rather than diminish it demonstrates a strong confidence in their visuals.
9. i-dle (아이들)
i-dle is one of the groups that best embodies the practice of "artists themselves taking control of the creative process" in K-POP. Leader Soyeon not only produces the music, but also personally leads the group's name, logo design, and even the concept for their music videos. What's interesting about i-dle is that the artists themselves design not only the music, but also how the group is presented.
Case study:From logo design to rebranding and visuals for each song.
In the case of i-dle, Soyeon's involvement extends to the entire group, making it difficult to single out a specific work as an example. Before their debut, Soyeon reportedly presented a PowerPoint presentation of proposed group name changes to Cube Entertainment and got it approved. Then, in 2025, to commemorate their 7th anniversary, they rebranded as "i-dle," removing the "G" which stands for "girl." Soyeon also spearheaded the decision to transition to an identity that transcends gender definitions. It's rare to find an artist who personally chose the group's name at their debut and then changed it seven years later, maintaining such consistent creative control. With each release—'TOMBOY,' 'NXDE,' 'Queencard,' 'Super Lady'—the visual tone changes dramatically, creating such a wide range that it's hard to believe they're the same group—perhaps only Soyeon could have done this.
10. ZICO (지코)
Another person who continues to drive his own creative work is ZICO. Rapper, producer,KOZ EntertainmentZICO, the founder of [label name], is one of the K-POP artists with the most "creative self-determination rights." He debuted as the leader of the seven-member boy group Block B, and from his solo mini-albums "Gallery" (2015) and "Television" (2017), he was involved not only in music production but also in music videos and package design. He established his own label and continues to manage everything from production to promotional planning himself. I feel that we will see even more artists operating in this way in the future.
Case 1:Thinking (2019)
This is ZICO's first solo full-length album, released the year after he launched KOZ Entertainment. ZICO himself was actively involved in the album's packaging design, stating that he "wanted to make it like a gift for his fans." This artist-driven packaging design is possible precisely because he, as the label's founder, has control over the entire production process.
Case 2:Any Song (2020)
This isn't about visual design, but I wanted to share this example as an example of designing promotion itself as a creative endeavor. It's a dance challenge where people post videos of themselves performing choreography to a song and spread it on TikTok. It's now a staple of K-POP promotion, and it's said that ZICO created this format. The "Any Song" challenge recorded over 1 million views in just 10 days. The easy-to-follow choreography and the casual atmosphere that made it easy to participate led to its spread on social media.
Extra edition ① G-Dragon (지드래곤)
We've discussed how artists themselves determine the direction of their expression, using examples like Soyeon from i-DLE and ZICO, but we can't forget G-Dragon as a pioneer in this regard. Debuting in 2006 as the leader of BIGBANG, he's an artist who has consistently treated everything from music production and composing to album visuals, stage direction, and fashion as part of his own expression. In 2012, he became the first K-POP idol to be invited to Paris Fashion Week, establishing his unique presence outside of music as well. Because he's too complex to be fully described within the K-POP genre alone, we've decided to feature him in a special edition rather than the main article.
Case study:PEACEMINUSONE (2016-)
The logo first appeared on the album "Coup d'Etat" (2013), and the brand was launched in 2016 with stylist Gee Eun.PEACEMINUSONEThe logo, which removes a line from a symbol of peace, secretly contains the initials "GD," making the brand's design philosophy itself artistic. In its collaboration with Nike, it became the first K-POP artist to collaborate on shoes with Nike. This brand, which continues to this day, is a special one within K-POP as an early example of a music artist cultivating their visual identity into a brand.
Bonus Episode 2: K-POP and Character IP
While writing the article, I became interested in K-POP's character culture. Artists are turned into characters and used in merchandise, animation, and brand collaborations. This is commonplace now, but upon investigation, one of the major triggers for this trend was...BT21I feel like it was.
BT21, born in 2017 through a collaboration between BTS and LINE Friends, was created through a process where each member drew their own rough sketch, and the LINE Friends design team then brought those sketches to life. The artists themselves participating in the character design was quite unusual at the time, providing fans with a new experience of seeing "characters embodying the inner selves of the members."
After that, Stray KidsSKZOOTWICELOVELYS(Collaboration with SanrioIt has become commonplace for each group to have its own unique character (as seen in the popular "Oshi-nui" culture). Many groups, such as TREASURE and IVE, have adopted this approach, and I feel there is something in common with Japan's "Oshi-nui" culture. The feeling of "imbuing an object with affection for one's favorite idol" may be something that transcends countries and cultures.
Final thoughts
We've introduced 10+ groups, but as we delve deeper into the creative aspects of K-POP, more and more studios and designers are involved, and honestly, we haven't been able to introduce them all yet! So, we'll be doing Vol. 2! Stay tuned.
Oh, that reminds me, the K-POP group IDID, which I mentioned at the beginning, also shares the same name, and I'd like to support their future endeavors.
