As Korean entertainment giants like JYP Entertainment (Niziu), Hybe (& Team)AND Smenaterinment (NCT wish) Find the continuous success with their groups of “localized” idols based in Japan, an inverse trend is emerging. Japanese entertainment companies are now venturing into the Korean marketdebuting groups of idols that merge elements of both J-Pop and K-Pop.
A first example of this move is the debut of One or eight AND Cosmosy Two groups formed by Japanese companies but were launched directly in South Korea. Despite their Japanese origins, both groups actively embrace K-pop influences and identify themselves as hybrid acts between the two musical cultures.
One or eighta group of completely Japanese children from eight members below ADEXHe officially debuted in Korea March 26, 2025. In the same way, the female group Cosmosycomposed of four Japanese members, he made their Korean debut April 11thSupported by no less than by the Japanese telecommunications giant NTT Docomo.
Both groups have been designed by thinking about the Korean market from the beginning, after suffering Training in both Korea and Japan. In particular, CosmosyThe debut project brought together a team of high-level creative professionals many of whom have worked with the main K-Pop artists such as Blackpink, Le Sserafim, Red Velvet, Iive, iu, Aespa, AND Txt A strategic investment in high quality K-Pop style production is on display.
Another extraordinary case is XGthe Japanese group for the whole female below Avex XGALX’s under-ethicswhich debuted with a k-pop style training system and a global concept. From their debut in 2022, XG has gained considerable international traction with viral shots like “Left to the right” AND “SHOOTING STAR”And it was presented in the main global graphics. The group is known for its fluent English texts, Y2K aesthetics and high-level performance skills, attributes strongly influenced by K-pop standards. XGSuccess has further shown that groups based in Japan can reach a global charm by embracing the production and promotional model of K-Pop.
Sector analysts underline that the debut in Korea allows Japanese companies to exploit the global influence of the K-Pop system from its advanced training infrastructures and by global fans involving platforms with its simplified international marketing strategies. For Japanese idols, the launch in Korea can offer faster access to global markets and help build international bases more effectively than a debut only in Japan.
The trend reflects the transformation of K-Pop by a regional genre into a global production model, now also adopted by companies outside Korea. While multiple Japanese companies look in Korea as a launch, the border between J-Pop and K-pop continues to escape, reporting a new phase of development of the pan-Asian idol.
