Why LIGHTSUM chose 'kawaii' concept for Japan debut

A five-year veteran K-pop girl group has taken the rare step of launching its Japanese major-label debut.

LIGHTSUM, which debuted in Korea in 2021, has embarked on a new venture built around "kawaii" — the Japanese aesthetic centered on cuteness — leaning into the country's distinct idol culture. Now in its sixth year, the group is seeking a fresh start in Japan by abandoning its established style to tackle the overseas market.

The six-member act — Sangah, Chowon, Nayoung, Hina, Juhyeon and Yujeong — released its debut mini-album, "Re:idol," on Sept. 23. The album title signals the group's intent to start over in Japan under a transformed identity.

The release arrives after a roughly two-year hiatus. Adapting its image for the new concept, LIGHTSUM brought the bright, charming aesthetics of Japanese idols to the forefront, overhauling its makeup, stage wardrobe and poses.

The kawaii concept marks a sharp departure from standard K-pop girl-group conventions. Instead of replicating its Korean image in Japan, the group actively embraced the participatory fan culture of the local idol scene, modifying its greeting etiquette and choreography while scheduling individual fan-signing sessions, high-touch greeting events and one-on-one photo sessions.

The move prompted questions across the industry, particularly over why the group chose a concept catering to a niche audience even within Japan.

"Rather than targeting only a specific niche demographic, we wanted to showcase Japanese idol culture together with LIGHTSUM's new charms," an official from Cube Entertainment told the Hankook Ilbo. "We plan to meet local fans with a more approachable, bright and lovely look."

The members also had reservations about the pivot during the planning stages.

"Because this was a process of preparing for a new challenge, the members had various concerns," the agency said. "However, they found value in gaining diverse experiences in a new environment and prepared step by step."

The campaign's ultimate objective is also clearly defined as establishing LIGHTSUM among local fans rather than chasing short-term commercial success, using direct, in-person encounters to broaden the group's long-term appeal.

Following the album's release, LIGHTSUM is meeting local fans directly across Hokkaido, Tokyo and Osaka for short live performances and high-touch events. The group also documented its preparations for the Japanese debut in the streaming documentary "Re:Idol."

To establish a competitive edge in Japan, the group is adapting its music, digital content and fan engagement methods to make the members more familiar and accessible to local fans.

"The primary goal is to firmly establish the group locally and lay the groundwork for ongoing engagement through performances and other avenues," the agency said.

For LIGHTSUM, the Japanese debut carries far greater weight than a standard promotional expansion. It represents a long-awaited chance to return to the stage after enduring an extended period of inactivity. In the documentary, member Sangah recalled the strain of their prolonged hiatus.

"What upset me most was having an empty schedule, but recently my schedule has become very packed," Sangah said. "Rather than feeling exhausted, I am simply so happy."

The members echoed similar sentiments. Chowon said she hopes to "make LIGHTSUM known to many people and stay busy promoting in both Korea and Japan without resting." Nayoung added, "I want to have an incredibly busy year-end. Just performing on the stage we waited for is a precious opportunity."

LIGHTSUM's ambitions for this new chapter are not fancy, but straightforward: to meet more fans, maintain an active schedule and stand once again on the stage they love. The response in Japan will ultimately reveal whether adopting established local conventions can restore sustained momentum to a group in its sixth year.

This article from the Hankook Ilbo, the sister publication of The Korea Times, is translated by a generative AI system and edited by The Korea Times.