K-Pop’s Photocard Craze Drives Fans to Hyperconsumption

The K-pop phenomenon is increasingly leading dedicated fans into a cycle of hyperconsumption, particularly with the popular practice of collecting photocards. These collectible items, often included with albums and merchandise, have become highly sought after, driving fans like Valerie Chan to spend significant sums on their favourite idols. Chan’s prized possession is a black spiral-bound album filled with photocards from the globally renowned group **BTS**.

Among her collection, the most expensive item is a photocard of member **V**, purchased for over **S$300** after she missed out on obtaining one during a concert in **Seoul** in **October 2019**. Although Chan was present at the event, all photocards had sold out by the time she arrived. “I really wanted a memento from the show since I went for it,” she explained. Her passion led her to pay more than **S$600** for a complete set of cards from that concert, showcasing the lengths fans will go to secure these collectibles.

Photocards are ubiquitous in the K-pop industry, often included as incentives with album purchases. Prices vary greatly, with common cards costing as little as **S$1**, while rare editions, such as a photocard of **Jungkook**, now listed for **US$4,990** on **eBay**, can fetch thousands. Collectors often find themselves purchasing multiple copies of albums to obtain cards of their favourite members, as each album typically includes a random photocard.

Nicole Tan, another avid collector, has amassed around **1,000** photocards from boy bands like **Seventeen** and **Ateez** over two years. She estimates her total expenditure on her collection to be in the high four-figure range. “It’s about the thrill of pulling the one you want,” she remarked, likening the experience to gambling.

K-pop’s influence on merchandise spending is profound. A recent report by **atVenu** revealed that **23%** of fans in the **United States** are now purchasing K-pop merchandise, reflecting a notable increase from **21%** the previous year. K-pop fans outpace other genres significantly, with **37%** of participants buying related items, dwarfing the **24%** of hip-hop/rap fans engaging in similar spending. This surge has led to an average expenditure of **US$48.32** per K-pop fan at concerts in 2025, a **61%** increase from prior years.

Fan Meetings and the Lottery System

In addition to collecting photocards, fans are also drawn to exclusive events such as fan sign meetings, where they can interact with their idols. These events often operate on a lottery system, with each album purchased serving as an entry. The more albums a fan buys, the greater their chances of winning a meeting.

A fan known as Yvonne, who has participated in nearly **20** fan signs, shared her experience of the process. For the group **Ateez**, the unofficial “cut” for a successful entry can range from **60** to over **200** albums, each priced between **S$20** and **S$30**. Despite the substantial financial commitment, Yvonne values the experience, stating, “Having this sort of interaction with an idol is something I’d never experienced before.”

To offset the costs, Yvonne collaborates with other fans for group purchases, allowing them to share shipping expenses and manage expenses effectively. She noted that reselling accompanying photocards helps recoup around **70%** of their costs.

The Consequences of Hyperconsumption

The practice of overspending through fan events and merchandise collection has drawn criticism from some academics. **Dr. Jeong Areum**, an Assistant Professor at **Arizona State University**, studies K-pop and emphasizes that the ambiguity surrounding fan sign lotteries promotes overspending and wastefulness. “There is a lot of ambiguity around fan signs,” she noted, pointing out the lack of transparency regarding the number of albums needed for a successful entry.

Dr. Jeong highlights a shift in K-pop marketing strategy that occurred between **2012** and **2013**. As social media enabled deeper engagement with fans, companies began catering to their most dedicated followers, leading to a boom in merchandising and ticket prices for events.

While fans like Chan and Tan are aware of the pressures that K-pop companies place on them, they continue to invest in their collections. “I wish photocards would come only with albums and concerts,” Tan expressed, acknowledging the overwhelming number of similar cards available. Despite the costs, she finds joy in her collection, equating it to other forms of personal happiness.

As K-pop continues to flourish globally, the phenomenon of hyperconsumption remains a defining aspect of its culture, reflecting both the passion of fans and the commercialization of their devotion.