K-Pop’s Photocard Craze Drives Hardcore Fans to Spend Big

The world of K-Pop is witnessing a remarkable trend in fan culture, with dedicated enthusiasts spending significant sums on collectibles, particularly photocards. These small, often exclusive cards featuring K-Pop idols have become a lucrative subculture within the billion-dollar industry, with fans like Valerie Chan leading the charge in hyperconsumption.

One of Chan’s prized possessions is a meticulously organized black spiral-bound album containing photocards of the globally renowned group BTS. Among her collection, the most expensive item is an official photocard of member V, which she acquired for over S$300 following a concert in Seoul in October 2019. Though she attended the concert, the cards sold out before she could purchase one. Driven by the desire to own a piece of the event, Chan spent months sourcing the complete set, ultimately investing more than S$600 for the seven-piece collection. Her enthusiasm extends to other BTS events, as she also spent nearly S$850 on photocards from the group’s 2021 concerts in Los Angeles.

Photocards are ubiquitous in the K-Pop world, often included as bonuses with album purchases or distributed at concerts. Prices for these collectibles range from as low as S$1 for common cards to thousands for rare ones. Currently, a photocard of BTS member Jungkook is listed for US$4,990 (approximately S$6,400) on reselling platforms, highlighting the extreme demand for these items.

The manufacturing costs of photocards are relatively low, but their value skyrockets due to a strategy known as gamification. Fans frequently find themselves purchasing multiple albums in hopes of acquiring their favorite cards, leading to a cycle of buying, trading, and reselling. Music labels further capitalize on this by releasing various versions of albums, each featuring different photocards. This approach compels fans to buy additional copies with each new release.

Another avid collector, Nicole Tan, has amassed around 1,000 photocards over two years, with a collection spanning boy bands like Seventeen and Ateez. She estimates her spending in the “high four-figure range,” likening her experience to gambling. “It’s about the thrill of pulling the one you want. It’s that adrenaline and the happiness of owning the card that drew me to collecting,” she explained.

This phenomenon is reflected in recent market research. According to atVenu’s 2025 Fan Spending Report, K-Pop fans are leading the way in merchandise spending. In the United States, 23 percent of fans reported purchasing merchandise in 2025, an increase from 21 percent in 2024. K-Pop merchandise remains at the forefront, with 37 percent of fans opting for these items, while the average spending per fan at concerts surged to US$48.32, a remarkable 61 percent increase compared to the previous year.

Fan Interactions Drive Increased Spending

Beyond collecting photocards, fans are also drawn to exclusive events like fan signs, where they can meet their idols. These events typically operate on a lottery system, with each album purchase serving as an entry. Fans who buy more albums increase their chances of winning a slot to meet their idols.

One dedicated fan, known only as Yvonne, has attended nearly 20 fan signs and fan calls over four years. The cost of participation can be considerable; for the boy band Ateez, fans often need to purchase between 60 to over 200 albums, with each priced between S$20 and S$30. Despite the financial risk, Yvonne is motivated by the unique experience of interacting with her idols. “Having this sort of interaction with an idol is something I’d never experienced before,” she stated.

To manage the financial burden of buying multiple albums, Yvonne collaborates with fellow fans through a group ordering system, allowing them to share shipping costs and recoup some expenses by reselling photocards and merchandise. This cooperative model not only helps offset costs but also fosters a sense of community among fans.

Concerns Over Overspending in K-Pop Culture

Critics express concern that the structure of fan interactions promotes overspending and wastefulness. Dr. Jeong Areum, an Assistant Professor at Arizona State University, studies South Korean popular culture and highlights the ambiguity surrounding fan sign events. “There is a lot of ambiguity around fan signs. No one really knows what the ‘cut’ is, and it is all hearsay,” she remarked.

Dr. Jeong notes that K-Pop’s commercialization has intensified since the early 2010s, as companies began to target core fans willing to spend significantly. This shift has led to more expensive concerts and exclusive merchandise, as companies recognize the profitability of catering to devoted followers.

Despite the pressures of spending, fans like Chan and Tan acknowledge the joy their collections bring. “I wish photocards would come only with albums and concerts because the sheer number of cards is quite ridiculous,” Tan admitted. Yet, she remains committed to her collection, viewing it as a personal source of happiness akin to other forms of collecting.

As the K-Pop industry evolves, the phenomenon of hyperconsumption among fans continues to grow, posing both opportunities and challenges for fans and the industry alike.