The Girl Crush Style in K-Pop: Feminist Empowerment or

Patriarchal Reproduction Under Capitalist Logic

Qishu Liu

Faculty of Humanities and Social Sciences, Beijing Normal-Hong Kong Baptist University,

Zhuhai, Guangdong, 519087, China

Keywords: K-Pop, Postfeminism and Neo-Liberalism, Fandom, Gender Representation, Cultural Industry.

Abstract: In recent years, the Girl Crush style, which is shown as powerful, confident, and edgy, has gained significant

traction in K-pop. This article analyzes Girl Crush style to explore the integration and contradictions between

the development of K-pop girl groups and the transmission of feminist ideas. The study finds that the

empowerment associated with this style often remains superficial. While the girl crush image embodies

confidence, strength, and rebellion, its core driving force remains the profit motives of the entertainment

industry and the expectations of the traditional male gaze. The article further argues that the feminist themes

promoted by Girl Crush ultimately serve commercial objectives and reinforce existing gender norms within

the constraints of capitalism. Based on this analysis, the article proposes several specific strategies--enhancing

idols' creative autonomy, expanding the proportion of female producers, and embedding authentic female

perspectives in content--to foster genuine feminist expression, increase gender consciousness, and sustainable

industry development in K-pop over the long term.

1 INTRODUCTION

With the popularity and expansion of the feminist

movement, the voices of more and more women have

been heard by people through the wide dissemination

of the media. However, against the backdrop of

capitalist commercial consumption logic and the

rapid expansion of the media industry, narratives of

female empowerment are gradually becoming

commodified (Harvey & Gill, 2011). K-pop music is

a genre of popular music originating in South Korea,

known for its meticulous visual design, complex

choreography, and diverse musical styles. Since the

21st century, it has gained global popularity. As an

important component of South Korean cultural

exports, it has successfully stimulated economic

growth while showcasing the national culture. Over

the past two decades, the style of South Korean girl

groups has undergone significant changes,

transitioning from innocent, cute, doll-like imagery to

a more sensual aesthetic, and now primarily

embracing the Girl Crush style (Pužar, 2011). Unlike

its original romantic connotations in English, "Girl

Crush" refers to female idols who are confident,

assertive, and able to express their thoughts and

feelings directly and provocatively (Chang, 2020).

Positive terms such as confidence, independence, and

strength have become hallmarks of Girl Crush-style

girl groups. Their bold performance styles and lyrics

filled with strength and rebellion have shattered

traditional stereotypes of female groups in the market,

offering a reimagining of female power and sparking

positive discussions about female empowerment

among their fan base (Li, 2022). However, while the

lyrics and music videos showcase the theme of female

empowerment, the costumes and stage performances

still reflect a male gaze, and the songs themselves are

mostly produced by male teams. Whether this

superficial expression of feminism truly breaks the

patriarchal system and fights for women's rights, or is

simply a new form of commodifying women by

entertainment companies to cater to market demand,

remains controversial.

Related studies indicate that the so-called "female

empowerment" in K-pop is merely individualizing,

commodifying, and commercializing empowerment

through neoliberal feminism and post-feminism.

Entertainment companies use "empowerment" as a

marketing strategy to serve a male-dominated

industry and mask the underlying deep-seated social

structural issues (Kim, 2019 & Dimri, 2023).

Therefore, when girl groups interpret songs in the Girl

226

Liu, Q.

The Girl Crush Style in K-Pop: Feminist Empowerment or Patriarchal Reproduction Under Capitalist Logic.

DOI: 10.5220/0014359900004859

Paper published under CC license (CC BY-NC-ND 4.0)

In Proceedings of the 1st International Conference on Politics, Law, and Social Science (ICPLSS 2025), pages 226-231

ISBN: 978-989-758-785-6

Crush style to showcase female strength, they

inevitably fall into the trap of commodification and

marketization.

Against this backdrop, this paper will engage in a

profound discussion centered on the question of

whether the Girl Crush style in K-pop represents a

genuine act of resistance against patriarchy and

empowerment for women, or whether it is merely a

product of commercialization. Through an analysis of

existing literature and an examination of the current

state of popular culture, the article will reveal the

intertwined dynamics and contradictions between the

narrative of female empowerment in K-pop culture

and patriarchal capitalism. This research not only

enhances the understanding of how the K-pop

industry operates but also offers a new perspective for

exploring feminist movements within the East Asian

cultural context.

2 THE EXPRESSION OF

FEMALE EMPOWERMENT IN

K-POP

2.1 Autonomy and Self-Expression

Before the emergence of the Girl Crush style, female

idols in K-pop were mostly portrayed as submissive,

cute, or sexy. However, in contrast, female idols

under the Girl Crush concept often emphasize

confidence, independence, and authenticity in their

lyrics and stage performances. This kind of image-

building, to some extent responds to feminist

demands for autonomy, allowing female idols to

express their views more proactively. Therefore, the

rise of Girl Crush style has infused K-pop female

idols with unprecedented autonomy and self-

expression. As mentioned in Chang's research, the

"Ssen unni" phenomenon in K-pop, which is known

as the Girl Crush style of female idols, reflects the

desire of female fan groups for stronger female role

models (Chang, 2020). These new-generation idols

have broken the traditional passive and submissive

role of women with their powerful voices, conveying

the determination of women to "no longer remain

silent". As a result, the Girl Crush style has given

female group members a certain degree of agency in

their performances, allowing them to have the

courage to show that "I am who I am" and become

role models for fans who admire their bold self-

expression.

It is not just about the lyrics; the autonomy and

self-expression of female idols are also conveyed

through their styling and stage presence. Members of

Girl Crush groups often exude a commanding

presence on stage. Their confident dance moves and

bold, direct looks into the camera that convey a sense

of agency and strength. This growing tendency

toward performances centered on "independence and

autonomy" marks a shift in the emergence of new-

generation K-pop girl groups. The Girl Crush style

has enabled more female idols to break free from the

constraints of traditional gender stereotypes, thereby

embodying the feminist ideal of encouraging women

to speak out for themselves.

2.2 The Reshaping and Blurring of

Gender Roles

The rise of the Girl Crush style has also reshaped and

blurred traditional gender role boundaries. McIntosh

& Butler argue that gender is not a fixed identity but

a performative process constructed through repeated

behaviors and social norms (McIntosh & Butler,

1991). Compared to the past, many K-pop girl groups

today dare to boldly incorporate elements previously

considered "masculine," such as powerful dance

styles, edgy bald hairstyles, and strong rap lyrics. This

fusion of elements fundamentally challenges binary

gender stereotypes, allowing women to present a

more diverse range of identities in popular culture (Li,

2022). From the 2000s to the early 2010s, South

Korea often "dollified" female idols to cater to the

male gaze's aesthetic of fragility. The Girl Crush style

deliberately broke this stereotype, representing

women as cool and powerful, thereby blurring the

traditional boundaries between male strength and

female weakness (Pužar, 2011).

As the most direct audience of the K-pop market,

fans also accept and love the "cool" and "handsome"

performances of female idols on stage. This indicates

that society's definition of femininity is becoming

more relaxed and diverse. Through their strong and

powerful performances, female idols have redefined

traditional femininity and broken through the rigid

framework of female images in popular culture (Shen,

2023).

2.3 Post-Feminism, Neoliberal

Feminism

In K-pop culture, narratives of female empowerment

are often expressed through post-feminist and

neoliberal feminist perspectives (Kim, 2019). Gill

points out that post-feminist media culture

emphasizes individual choice and self-empowerment,

but in reality often conceals structural gender

The Girl Crush Style in K-Pop: Feminist Empowerment or Patriarchal Reproduction Under Capitalist Logic

227

inequality (Gill, 2007). Many post-feminist

characteristics can be seen in the concept of Girl

Crush. On the one hand, it promotes female

independence and strength, emphasizing individual

choice and autonomy; on the other hand, it simplifies

female empowerment into a consumable and

measurable commodity. In the music videos of the

Girl Crush girl group, there is no shortage of bold

displays of sensuality and strength. While these

scenes and body language appear to convey

confidence, this "confidence" largely remains

confined to the cultivation of self-image rather than a

challenge to gender inequality. This phenomenon

reflects neo-liberal feminism, which reduces

empowerment to individual success and choice,

placing the individualistic notion of "being oneself"

at the core (Dimri, 2023).

Kim's research reveals that the empowerment

discourse prevalent in K-pop music largely reflects a

form of neoliberal feminism: it showcases female

subjectivity by instilling positive psychology-style

inspirational narratives and stories of "growing up in

adversity", but rarely touches on structural gender

inequality (Kim, 2019). This has turned feminism into

a depoliticized symbol. In the Girl Crush style, female

power is packaged as a marketable commodity, often

avoiding a genuine challenge to the patriarchal

system while presenting "empowerment" as a

consumable pop element (Li, 2022). Therefore, in the

K-pop industry, what can see more are "cool-looking"

female images rather than genuine gender equality

reforms that challenge social structures.

3 CONTRADICTIONS AND

CAUSES OF EMPOWERMENT

PERFORMANCE

3.1 Attributes of Empowerment:

Consumptive and Performative

Although the concept of Girl Crush appears to be full

of female empowerment, its empowering attributes

have strong consumerist and performative

characteristics, creating a contradiction between its

name and reality. On the one hand, the so-called

"female power" is used by major entertainment

companies as a gimmick and marketing strategy to

cater to market demand and attract fans to consume

(Dimri, 2023). According to data from Circle on girl

group album purchases, the proportion of female fans

among the most popular new girl groups exceeds

60%, and they have achieved sales figures

comparable to those of boy groups, reaching over one

million copies. The growing presence and influence

of female fans have led talent agencies to place

greater emphasis on the thoughts and behaviors of

this demographic in their operational strategies,

beginning to tailor their idol based on the perspectives

of female fans. As a result, Girl Crush-style girl

groups, which resonate with and are adored by female

fans, have emerged as the ideal vehicle for this trend.

Sun et al.'s study on the Girl Crush trend in K-pop girl

groups found that fans generally perceive this concept

of female empowerment as highly commodified

"pseudo-feminism"--it largely perpetuates the

existing patriarchal power structure within the

industry and does not genuinely subvert gender power

dynamics (Sun & Paje et al, 2022). Therefore, it can

be argued that the so-called "empowerment" of Girl

Crush is more like a carefully crafted product by

entertainment agencies, whose primary objective is to

cater to market profitability rather than genuinely

advancing female rights.

As Harvey and Gill point out, in the context of

capitalist media, elements such as sexiness and

feminism can be easily commodified and

consumed—women appear to be displaying sexual

autonomy, but in reality, these images are still defined

and produced by a male-dominated production

system (Harvey & Gill, 2011). The "power" presented

by K-pop girl groups is mostly limited to the visual

impact of their stage performances and has not been

truly transformed into improvements in the status of

women in real life. The narrative of female

empowerment in K-pop has been overly

individualized and commercialized, becoming part of

a marketing strategy (Kim, 2019 & Dimri, 2023).

3.2 Male Gaze

On the other hand, while the Girl Crush style

superficially portrays strong female figures, its

presentation remains heavily influenced by the male

gaze. While girl groups advocate for independence

and self-reliance, many of their clothing designs and

visual language still adhere to traditional aesthetic

norms, catering to the fantasies of male audiences. In

stage performances of songs themed around female

freedom or empowerment, female idols still wear

revealing outfits, extremely high heels, and have

camera angles focused on specific parts of their

bodies, which reinforces the objectification of the

female body (Zahra, 2024). The male gaze, which

remains pervasive in South Korean entertainment

culture, subtly erodes women's sense of agency and

reinforces existing aesthetic standards (Chen &

ICPLSS 2025 - International Conference on Politics, Law, and Social Science

228

Zhang, 2023). Even though female fans now make up

the majority of the fan base, the K-pop industry

remains reluctant to lose its male audience. This is

one of the reasons why the male gaze persists. In a

patriarchal society, the criteria for evaluating female

imagery are still dominated by men, and the

empowerment that the Girl Crush style aims to

convey often remains superficial. Female idols also

struggle to truly escape the objectification they face.

3.3 Industrial Structure and Capital

Logic

The underlying causes of the above contradictions are

closely intertwined with the structural characteristics

and capital operation logic of the K-pop idol industry

itself. "Female empowerment" is more of a

commercial strategy and market demand than a

genuine expression or voice. When female voices

grow louder, agencies capitalize on this by launching

Girl Crush-style girl groups that appeal to female

fans. However, this empowerment concept lacks a

solid value foundation, and once new market trends

emerge, the empowerment concept may be adjusted

or even abandoned.

Additionally, the upper management and

production teams within the K-pop industry have long

been dominated by men. This industry structure limits

the influence female group members have in

conceptual planning and creative processes, making

it difficult for them to truly express their ideas.

Furthermore, every action and word of female group

members is strictly controlled and regulated by their

agencies. This indicates that within the K-pop

industry, there remain invisible boundaries around

authentic feminist expression: while female groups

can sing about power, they cannot truly become

advocates for female rights. Lin & Rudolf's empirical

research also found that the K-pop industry contains

elements that may reinforce gender inequality: fans

who invest more deeply in the industry tend to exhibit

more unequal gender attitudes, which is particularly

evident in societies with lower levels of gender

equality (Lin & Rudolf, 2017). It is clear that the

emergence of the Girl Crush style has not truly shaken

the existing male-centered power structure of the K-

pop industry, but has instead been cleverly integrated

into the existing system to create new commercial

growth points.

4 DISCUSSION

4.1 De-Symbolization

The primary task of accurately conveying feminist

ideas in K-pop culture is to transform "female

empowerment" from a superficial marketing symbol

into a deep-rooted value. Talent agencies and creators

should go beyond using feminism as a marketing tool

and avoid stopping at slogans and visual symbols.

Instead, they should give it real meaning. Only when

empowerment is no longer seen as a label that can be

freely traded will audiences be able to feel the sincere

resonance of values from it. Entertainment agencies

should truly implement the value of feminism and

drive self-reflection and reform within the K-pop

industry, rather than continuously exploiting the "Girl

Crush" aesthetic (Sun & Paje et al, 2022). When

feminist ideals are no longer merely used as trendy

elements for superficial dissemination and

decoration, but are genuinely reflected in the words

and actions of artists, audiences can see beyond the

surface and truly understand and accept the gender

equality messages being conveyed. For the K-pop

industry, when female empowerment is grounded in

authenticity and autonomy, the emotional connection

between idols and fans becomes stronger and more

enduring. Similarly, this shift will help the K-pop

industry overcome criticism and accusations of

"pseudo-feminism", thereby enhancing its reputation

and influence in the global cultural market.

4.2 Breaking the Male Gaze

Secondly, it is essential to actively break the

dominance of the male gaze on the form of expression

of idols. The K-pop industry should proactively shift

its perspective when producing content, avoiding the

tendency to cater solely to male aesthetic preferences

when portraying female idols. In music video

production and stage direction, there should be fewer

objectifying shots of female bodies, with more

emphasis on their talent, skills, and emotional

expression. This change can guide audiences to

interpret performances from the perspective of

appreciating female agency rather than through the

habitual male gaze. Additionally, when more female

professionals take control of the narrative behind the

scenes, idols can break free from the male gaze and

escape their objectified status, presenting a more

authentic and genuine portrayal of female beauty

(Chen & Zhang, 2023). Such changes will not

diminish or restrict the market influence of K-pop

music works. On the contrary, they can unlock new

The Girl Crush Style in K-Pop: Feminist Empowerment or Patriarchal Reproduction Under Capitalist Logic

229

cultural symbols and consumer groups, such as those

seeking to break free from traditional binary gender

oppositions and pursue self-identity. Additionally,

these changes will help the K-pop industry enrich its

aesthetic expression and create music from a fresh

perspective.

4.3 Structural Changes in Gender

Ratio

Adjusting the gender ratio and power structure of the

K-pop industry is the most critical fundamental

measure for achieving true female empowerment and

expression. Currently, women account for a very low

percentage of key positions in talent agencies,

production teams, and creative planning. This means

that women lack sufficient voice in the early stages of

content production. Only by consciously promoting

and appointing female managers and producers can

the industry inject more female perspectives and

establish a sense of equality. In addition, it is also

important to strengthen the training and guidance of

female group members in creative skills. Companies

should encourage members to participate in the

creation of lyrics and songs. Female idols can no

longer be passive puppets who simply accept

information, but participate in the creative process

and boldly express their ideas.

It is also crucial to guarantee female artists basic

rights and equal treatment in their professional

development (Zahra, 2024). This includes

eliminating strong gender discrimination in the

workplace, giving female artists the same autonomy

and respect as male artists, and allowing them the

freedom to wear flat shoes, long skirts, and warm

clothing. These structural changes will gradually

break down the patriarchal model inherent in the idol

industry and create an environment that is more

supportive of women's freedom of expression.

5 CONCLUSION

Through years of continuous development, K-pop

music has secured a prominent position in global

popular culture, garnering a dedicated fan base from

diverse regions and exerting a significant influence on

global pop music trends. This article argues that under

the influence and construction of neoliberal feminism

and post-feminism, the Girl Crush" style, which

promotes female independence and strength, is

largely superficial. Even when attempting to break

traditional binary gender stereotypes, it fails to bring

about profound changes in industrial and social

structures. The K-pop industry packages feminism as

exquisite products, but under the demands of a

patriarchal society, this packaging remains difficult to

escape from the male gaze.

Although this article has identified numerous

existing issues, when artists, economic companies,

fan communities, and society as a whole take

collective action and persist in their efforts, the

current problems and structures will be gradually

dismantled. In the future, it is essential to actively

promote self-reflection and transformation within the

K-pop industry, guiding audiences to understand

songs and performances from the perspective of

appreciating female agency. Additionally, more

female producers and managers should be introduced

to collectively present authentic and powerful female

empowerment from the production end to the

reception end, thereby fostering a gender-equitable

industry environment. In summary, this article

provides a positive impetus for change in the K-pop

industry, offers valuable references for women's

empowerment, and helps K-pop maintain its

commercial vitality while achieving a more authentic

expression of feminist ideals.

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