Cover Luxury brands have found a new channel to capitalise on (Photo: IMDB)
Luxury brands have found a new channel to capitalise on (Photo: IMDB)
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From Burberry in ‘Crash Landing on You’ to Vivier in ‘Penthouse,’ luxury brands have turned K-dramas into their most powerful runway, driving double-digit sales growth and global brand exposure.
K-drama fashion has become one of the most powerful marketing tools for luxury brands, eclipsing Instagram feeds and rivaling red carpets. Korean dramas now serve as a global stage where fashion houses reach aspirational consumers, particularly across Asia, leveraging narrative context, cultural influence and the unstoppable Hallyu wave.
The sales impact is undeniable. In My Love from the Star, Jun Ji-hyun’s YSL Rouge Pur Couture lipstick shade No. 52 sparked a worldwide sellout, while Delvaux’s purple Tempête bag disappeared from boutiques within weeks. More recently, the Tout Y Est Bout Mini bag featured in Lovely Runner sold out almost instantly. These aren’t passing fads—luxury brands in K-dramas see demand surge whenever their products are placed in storylines. Chanel tweed, for example, is now synonymous with Kim Ji-won’s character Hong Hae-in in Queen of Tears.
In case you missed it: Dressed to dominate: 6 ways K-drama heroines used fashion to showcase their power
TV screens over Instagram feeds
Dramas may now play a more powerful tool than even social media for reaching consumers in their 30s and 40s—and it’s a sentiment that luxury brands are backing with their budgets.
Beyond logo placement, luxury brands in K-dramas embed themselves into storylines through wardrobe collaborations, set design and character-defining accessories. A 2023 ICIA Paris study found that viewers connect more deeply with luxury items when they’re part of a character’s emotional journey rather than presented in traditional ads.
The result: a handbag or pair of heels worn by a K-drama lead can fuel K-drama fashion trends that last far longer than influencer campaigns. In Crash Landing on You (2019), Hyun Bin’s Chopard watch triggered waiting lists in Seoul and Hong Kong. The Glory (2022) showcased Fendi’s utilitarian handbags, while Song Hye-kyo’s Valentino wardrobe boosted resale values. Even emerging maisons benefit: Roger Vivier’s glittery pumps, featured in Hometown Cha-Cha-Cha, became a must-have for aspirational audiences.
A steadily growing market
South Korea has become a key growth market for luxury, accounting for 7 per cent of global luxury sales despite its modest population. In 2022, The Korean Economic Daily reported that Korea’s luxury fashion market grew 24 per cent year on year to US$16.8 billion, even as China’s slowed. Total luxury spend reached US$14.1 billion, ranking Korea fifth worldwide.
This boom is closely linked to cultural consumption. K-dramas and K-pop aren’t just entertainment—they are global drivers of luxury fashion demand. Their influence extends well beyond Korea, with viewers in Southeast Asia, Europe and the US creating secondary waves of consumption. Streaming platforms have accelerated the trend: Netflix reports that K-dramas are now its second-most-watched category after US productions. For luxury brands in K-dramas, the platform is an unrivalled gateway.
See more: 6 enviable watches in K-dramas that marked more than just time
A new type of fashion capital
The impact on the fashion industry is profound. Korea has positioned itself as a new kind of fashion capital, not through traditional runways but through scripted television. K-drama fashion has become both cultural currency and commercial engine.
As the global luxury market recalibrates post-pandemic, brands are looking east, recognising that the next wave of growth may well be dressed in the wardrobe of tomorrow’s K-drama protagonists.
Sasha Lim-Uy Mariposa is a lifestyle journalist who is known for her food writing. Based in Manila, she also covers entertainment and dining, as well as a broad range of topics. She was the former digital editor at Esquire Philippines and was the digital managing editor at Spot.ph, and now writes for the different Tatler Asia markets as a contributing writer for T-Labs.
