Karina, Winter and RIIZE front Seoul’s 9-film tourism push
Seoul pairs K-pop reach with a tourism idea about missing the city after a trip, then extends it across video, OOH and offline activations.
For global K-pop audiences, Seoul is already more than a backdrop. It is where music, fashion, food, beauty and fan culture overlap with the everyday places people see in videos, variety shows and social feeds. Seoul Tourism Organization is leaning directly into that connection for its 2026 global campaign.
The city has named aespa members KARINA and WINTER, together with RIIZE, as honorary tourism ambassadors for Absolutely in Seoul. The campaign begins with a teaser and expands into nine films built around a new idea called “Seoul Syndrome,” a way of describing the feeling of missing Seoul after a trip and wanting to return to its everyday rhythms.
Table of contents
Jump to each section:
- How Seoul Syndrome turns memory into a destination idea
- Why K-pop stars fit Seoul’s tourism story
- From nine films to citywide participation
- What fandom-led tourism says about destination marketing
How Seoul Syndrome turns memory into a destination idea
Most tourism advertising sells a place by showing what visitors can do there. “Seoul Syndrome” takes a slightly different route. It starts with what people might feel after they leave.
According to the Seoul Tourism Organization, the concept describes the urge to return to the city after missing the ordinary experiences that made a trip memorable. That can mean K-pop and K-content, but also the Hangang River, alleyways, cafes, food, shopping and night views.
That framing gives the campaign a useful emotional structure. Seoul is not only presenting attractions. It is trying to turn repeat visitation into part of the story by making post-trip longing itself the campaign idea.
The films give that idea a fantasy layer. KARINA, WINTER and RIIZE appear as modern-day Sinseon, mystical figures drawn from Korean tradition, who move through contemporary Seoul and trigger the campaign’s playful version of “Seoul Syndrome.”
The contrast matters because it lets the city package heritage and contemporary culture inside the same visual world. Instead of treating K-pop as a separate entertainment hook, the campaign places it alongside the city’s food, neighborhoods, riverfront and nightlife.
Why K-pop stars fit Seoul’s tourism story
Using K-pop talent for destination marketing is not new for Seoul. In 2025, the city’s “Absolutely in Seoul” platform featured JENNIE as an honorary tourism ambassador, according to Visit Seoul.
The 2026 version broadens that play. KARINA and WINTER bring aespa’s global audience, while RIIZE adds another active fan community to the campaign. Their official profiles also keep the casting grounded in current music activity rather than nostalgia alone.
That makes the ambassadors more than recognizable faces. They are a bridge between the city and people who already consume Korean culture as part of everyday entertainment.
Seoul has spent years building tourism products around that behavior. Its official Hallyu tourism hub points visitors toward K-pop sites, filming locations and cultural experiences, while its “SOUL SPOT” program organizes locations tied to K-dramas, films and music into travel routes.
Kim Byung-min, CEO of Seoul Tourism Organization, said the campaign “connects the global influence of K-culture with Seoul’s diverse tourism content.”
That line captures the strategy. The celebrity layer creates attention, but the destination still needs enough cultural and physical experiences underneath it to convert that attention into a trip.
From nine films to citywide participation
The campaign is designed to extend beyond a single hero video.
Seoul Tourism Organization says nine films will be released sequentially. Separate coverage from Maeil Business says the rollout will also include overseas outdoor advertising, including New York’s Times Square, and CNN distribution across more than 133 countries.
The campaign then moves back into Seoul itself. From mid-October, visitors will be able to take part in mission-based activities at five tourist information centers and two Seoul My Soul Shop locations, with limited merchandise such as artist posters and photo cards used as participation rewards.
That physical extension is important for a fandom-led campaign. Photo cards and limited merchandise already have familiar value inside K-pop culture, so the activation does not need to invent a new participation behavior from scratch.
Instead, Seoul is borrowing an existing fan habit and connecting it to movement through the city.
The same logic appears in the media mix. Video builds the world, OOH expands awareness, and the in-city activation gives travelers something tangible to collect once they arrive.
What fandom-led tourism says about destination marketing
The more interesting shift is not simply that tourism boards are hiring celebrities. It is that destination marketing is becoming more comfortable using fandom as part of the travel journey itself.
For a K-pop fan, visiting Seoul can include the same behaviors that already shape participation in music culture: following artists, collecting limited items, visiting meaningful locations and sharing evidence of the experience.
That creates a different relationship between campaign and destination. The advertising does not have to manufacture interest from zero. It can connect existing cultural attention to places, rituals and products that are already available in the city.
The risk is that the celebrity can easily become bigger than the destination. A campaign built entirely around star power may generate attention without giving people enough reasons to remember the place itself.
“Seoul Syndrome” tries to solve that by making the city’s everyday experiences the object of longing. KARINA, WINTER and RIIZE are the entry point, but the campaign repeatedly redirects attention toward food, neighborhoods, the Hangang River, shopping and nightlife.
For marketers, that is the more useful lesson. Celebrity reach becomes more durable when the campaign gives audiences somewhere to go, something to do and a reason to keep the experience connected to the brand or destination after the initial attention fades.
