lia

⋅˚₊‧ ୨ obsessed ୧ ‧₊˚ ⋅ luv ୭˚. ᵎᵎ bts & blackpink ♡

[lia @bgpkluv]

the loves of my life.

[BTS_official @bts_bighit]

[#오늘의방탄]
260523 BTS WORLD TOUR 'ARIRANG' IN LAS VEGAS

#방탄소년단 #BTS #BTS_WORLDTOUR_ARIRANG
#BTS_WORLDTOUR_ARIRANG_NA
#BTS_WORLDTOUR_ARIRANG_LASVEGAS

[BTS_official @bts_bighit]

[EPISODE] BTS WORLD TOUR ‘ARIRANG’ IN GOYANG Sketch
(https://t.co/QUWdm6ebCd)

#BTS #방탄소년단 #BTS_WORLDTOUR_ARIRANG
#BTS_WORLDTOUR_ARIRANG_GOYANG

[Cia. @GENIUS9N]

An article by the K-Media says JENNIE will rewrite the entertainment industry’s business model itself, an exception who managed to succeed on her own after leaving a big company while many Idols find it challenging.

“Headlining seven major festivals, Dominating Billboard main chart became possible because of the path JENNIE chose, while more than half of idol’s profits were shared with agencies, JENNIE has now created a structure where 100% of the revenue flows directly back to her, While idols depended on agency distribution networks, JENNIE chose to communicate directly with the global market. becoming her own platform — is rewriting the entertainment industry’s business model itself, She chose to shoulder the risks herself in order to protect her own value because, She is now a brand herself.”

to read the article fully and detailed: https://t.co/EFMGMiDeaV

[Jennie Global Union @Jennie_Union]

260522 | #JENNIE DAZED INTERVIEW FOR CHANEL

"I've always been someone with clear goals, and I have a strong belief in myself, so I don't think I've ever felt that my true self had been diluted. Of course, there are moments of wavering or doubt amid so much attention and so many different gazes, but I think ultimately the most important thing is knowing well for myself what kind of person I am and what I like. So rather than being swayed by the noise around me, I tend to focus more on my inner feelings and standards."

#JENNIE #제니 @oddatelier @jennierubyjane

[Jennie Global Union @Jennie_Union]

260522 | #JENNIE DAZED INTERVIEW FOR CHANEL

"I think my identity as an artist becomes clearest when I'm working on music or standing on a stage. Ultimately, my emotions and identity are embedded as-is in music, so I think it's the moment I come closest to being most like myself."

#JENNIE #제니 @oddatelier @jennierubyjane

[Jennie Global Union @Jennie_Union]

JENNIE and CHANEL, New York and Seoul

From Dazed Korea Interview

“As just another human being, I think I keep discovering new goals that I truly want to pursue and feel I should pursue. The direction and values I follow can sometimes seem challenging or provocative to people, but over time there are moments when fans come to understand and respect the real meaning behind them. I think those things eventually remain as my own iconic qualities. So these days, rather than trying to satisfy every gaze directed at me, I try to focus first on what truly matters to me and trust that direction more.”

[Jennie Global Union @Jennie_Union]

JENNIE and CHANEL, New York and Seoul

From Dazed Korea Interview

“I think the positive responses came from always doing my best within the moments and opportunities given to me, and from constantly thinking deeply about every step. Even now, whenever I take on something new, I still feel excited and nervous.

But if there’s one thing that’s changed compared to before, it’s that I naturally feel more aware that the choices I make and the stories I tell can influence a lot of people.”

🔗 https://t.co/1PXknlakZi

[Jennie Global Union @Jennie_Union]

While traditional idols relied on agency distribution networks, Jennie opted to communicate directly with the global market. A prime example of bypassing these intermediate steps was when the remix version of "Dracula"—a collaboration with Tame Impala—rode the wave of short-form video challenges straight into the Billboard Top 10. By cutting out the mega-agency middleman and signing direct partnerships with global labels like Columbia Records, Jennie restructured the profit-sharing model to revolve entirely around the artist. Headlining seven major global music festivals and dominating the main Billboard charts were only possible due to this lean, streamlined structure. By transforming herself into a platform, Jennie is rewriting the entertainment industry's revenue model.

Jennie’s negotiating leverage is starkly evident in her partnerships with Chanel and Porsche. She does not stop at being a model who simply wears sponsored clothing. Her participation in the vehicle design details during the Porsche collaboration to create the "Jennie Edition" proves that she is a brand that transcends standard celebrity status. At Chanel fashion shows, her mere presence generates tens of millions of dollars in media value. In essence, the single name "Jennie" has completely replaced the entire marketing apparatus traditionally handled by corporate agencies.

Jennie’s achievements are not a matter of luck driven solely by fandom firepower. While earning a spot on Time’s list of the 100 Most Influential People in 2026, she successfully monetized her intrinsic value. Refusing to be a mere cog in a corporate wheel, she chose to become the system itself—a case study proving that an individual's identity can stand on equal footing with industry titans. Reviewing financial statements behind the stage spotlights and directly allocating capital to run a corporation represents a new frontier for artists moving beyond the boundaries of traditional entertainment. The path forged by Jennie signals a total paradigm shift in the K-pop market landscape.

The era of the individual who has become their own platform. Her trajectory as an executive managing her own risks is being evaluated as a new benchmark for the market.

Her choice to shoulder the risks and protect her own worth—rather than joining a massive corporation and splitting the profits—will reshape the entertainment market's paradigm. The 23,800,000,000 KRW report card is both a proof of capability for those dreaming of independence and a signal flare announcing the arrival of the era of the individual. The public is paying attention to this figure because it represents the ultimate self-actualization, going far beyond mere income. The process of overriding the logic of giant corporate systems through nothing but content competitiveness and sheer diligence offers deep insights to many. Jennie has personally proven exactly what kind of value is created when one finds the courage to step outside the established structure. The numbers she is writing down are not mere gossip; they are the benchmarks of a new era.
The era where the capital and systems of giant agencies protected artists has drawn to a close. We have entered the age of the robust individual brand platform, where artists directly manage capital risks and prove their own value.

#JENNIE #제니 @oddatelier @jennierubyjane

[Jennie Global Union @Jennie_Union]

260523 | JENNIE RELATED NEWS

An Independent Empire Built Just 2 Years After Founding a One-Person Agency: The Audit Report of Executive Jennie, Who Became Her Own "System" Instead of Relying on Megacap Capital

When Jennie left the BLACKPINK brand and YG Entertainment, the market viewed her move with skepticism. Stepping out alone, stripped of the protective shield of massive capital and structured management, was widely perceived as a reckless gamble. However, Jennie completely shattered that prejudice with a single number: 23,800,000,000 KRW in settlement payouts. Published via the Financial Supervisory Service's electronic disclosure system (DART), the audit report for Jennie’s one-person agency, Odd Atelier (OA), illustrates achievements in independent asset management that go far beyond mere revenue scale.

A settlement payout of 23,800,000,000 KRW. This is the fruit of independence, a value Jennie proved entirely on her own merit without the backing of corporate capital.

The data presented in the audit report is undeniable. Even in its early stages of independence, Odd Atelier generated a stable cash flow, dispelling market concerns. The most notable takeaway is the settlement payouts Jennie received over the past two years. She recorded a total settlement revenue of approximately 23,800,000,000 KRW, taking home roughly 14,300,000,000 KRW in 2024 and 9,500,000,000 KRW in 2025. This payout structure is uniquely possible because she operates a one-person enterprise with a 100% equity stake. While operating profit experienced temporary fluctuations despite rising revenues, this was due to infrastructure establishment and long-term investments. Jennie directly injected 2,800,000,000 KRW of her own funds as shareholder loans to run the company, demonstrating the strategic moves of an executive practicing accountable management rather than just behaving like a signed artist.

These results are by no means a fluke. Since her trainee days, Jennie has built up her unique creative instincts by directly participating in the fine details of stage concepts and visual directing. The time she invested within a mega-agency to maintain her identity as an artist became the foundation for creating something truly her own. Through her collaborations with global brands like Chanel, she evolved beyond a mere promotional model to acquire sharp business acumen, scaling herself into a standalone enterprise.

The Hannam-dong headquarters where Jennie’s Odd Atelier is located signifies far more than a simple office space. Breaking away from the controlled systems of past mega-agencies, this is the command center where Jennie holds the keys to all creative direction. Here, alongside core personnel who also transitioned from YG, Jennie has constructed an independent business infrastructure. The labor costs and facility investments incurred during the early stages of independence were essential expenditures for the artist to secure complete ownership of her intellectual property (IP). Unlike the past, where more than half of the profits were split with an agency, she has now finalized a business model where the vast majority of revenue is directly funneled back to Jennie herself.

Distribution innovation that bypasses the agency middleman. Data has proven that breaking into the Billboard Top 10 is entirely possible outside of the traditional system.

#JENNIE #제니 @oddatelier @jennierubyjane

[َ @pinksview]

THAT BODY LALISA!

[َ @pinksview]

THE RAP, THE FLOW, THE DELIVERY, OH THEY KNEW TO START THE SONG WITH LISA.

[✧ @OLlVEKlMN]

Ruby by JENNIE

- 1st studio album under her own company
- Never had streams removed at the end of any month
- Numbers matching organically across all platforms
- Publicly well-known and recognized
- One of the most acclaimed albums by critics

[kenji 𓅓ⴵ @yk2aii]

#LISA also commented on the collaboration: “Music always brings people together around the world, so it’s been an honor to work with Anitta and Rema.”

[calvinklein @CalvinKlein]

Jung Kook on the making of the CKJK collaboration campaign. discover limited-edition styles designed by global icon.

[۫ @hourlydollisa]

the full body shot… i feel dizzy 😵‍💫

[💍 :) Love's Mom 💜💛 Bam's Dad 🌙⭐☁️ @PatchaBoice]

Trowback 👥👨‍❤️‍👨👩‍❤️‍👩

[FIFA World Cup @FIFAWorldCup]

⚽ GOALS ⚽

Stream the latest #FIFAWorldCup single by Lisa x @anitta x @heisrema now!

[FIFA World Cup @FIFAWorldCup]

✨ GOALS OUT NOW ✨

Lisa x @anitta x @heisrema will all take the stage for an unforgettable performance at the #FIFAWorldCup USA Opening Ceremony in Los Angeles 🌎⚽

Stream the Goals Music Video now at the link below.

[LLOUD @wearelloud]

GOALS OUT NOW

🎧: https://t.co/7V2Lhv91uI
🎥: https://t.co/xCjKU7STxr

#LISA #GOALS #FIFAWorldCup #WeAre26