Certain types of marketing have become customary in the K-pop industry. From initial concept photos and movie-style trailers to teasers and mash-ups, new albums come with a whole host of content for fans to pick apart ahead of release. Now, as promotional material that was once unique to the genre becomes expected, some creative teams are looking for a different approach – and rising girl group KiiiKiii sits at the forefront.

When KiiiKiii debuted with UNCUT GEM in March 2025, their initial image aligned with a generalised Y2K trend. Low-rise jeans, animal patterns, and streaks of dyed hair were featured during their performances, but didn’t necessarily stand out following similar early-2000s inspired styles from NewJeans and ILLIT.

That changed with the release of their second mini album Delulu Pack and its title track “404 (New Era).” In January 2026, the group revealed a distinctly technological approach to the Y2K trend with a music video that acts almost as an internet archive. It includes a vlog intro, childhood clips of each of the members, references to video game Just Dance, typography with texting animations and typos, and different equipment and studio set-ups – many dated explicitly to the year 2000. When the electropop song burst onto the charts, suddenly KiiiKiii weren’t simply the next in line to attempt a Y2K concept; they were leading a “new era” that rejuvenated the Y2K trend from potential oversaturation.

KiiiKiii’s creative team, led by creative director byheyone, evidently took note of the immense, positive response that the concept garnered. Marketing for KiiiKiii’s third mini album WhyKiiiKiii has begun, and it comes in the form of a fictional travel website designed to mimic websites from the early-2000s.

The album title itself, WhyKiiiKiii, is connected to the summer season and a travel theme; it acts as a phonetic play on words with the popular oceanfront Waikiki neighbourhood in Hawaii. The summer-themed “KiiiKiii Travel” website serves to enhance that connection, with beach-like imagery and the positioning of KiiiKiii as a fun holiday “destination” for fans to arrive at. It features a ticket booking section, a fictional island tour schedule, information on tour guides, a map, sponsors, reviews, and even a separate duty free merchandise page. Except, each of these features have been leveraged to promote KiiiKiii’s new comeback. Downloadable tickets are dated to the release of WhyKiiiKiii on August 10, and the schedule acts as both a tracklist and a real schedule for the unveiling of song teasers. Images of the tour guides are Y2K-themed concept photos of KiiiKiii themselves, and every sponsor, review, and “(Girls) Duty Free” item corresponds to the members in some way.

Even the duty free section, despite not selling real products, has been designed for maximum interactivity and to scratch the itch of buying and collecting K-pop albums and merchandise. Fans are able to select items and quantities and click to purchase them, triggering a pop-up reading “Thank you for your purchase!”. It allows for more items corresponding to the Y2K theme to be displayed and take the concept further, with features verging on inside jokes – the “Rio de Janeiro” sunglasses, for example, refer to a popular social media filter from the 2010s. The tagline “Free of (Girls) Duty,” too, adds to the fun, carefree style with a witty piece of wordplay. At the same time, it ties the group into current domestic trends, with fake “dopamine” shopping sites popular in Korea. Every single detail has been thought out.

Simply put, it's genius. The website plays on seasonal theming while enhancing KiiiKiii’s established technological, Y2K concept, and provides an immersive digital experience on a level never seen before within K-pop album promotions. Fans can download and share customisable boarding passes as well as each concept photo and teaser, interact with all of the various website sections with their unique images, videos, audio and typography, and generally feel more involved with the comeback due to this multi-media strategy – all while promoting KiiiKiii’s new album.

Previous attempts at using websites or customisable content have been seen in the industry, such as ATEEZ’s use of a website to reveal daily teaser posters for “Lemon Drop” and the Spotify x Stray Kids personality matching tool created for the release of KARMA. However, none have been on this scale, nor with this much intention clearly concentrated into its design. Both inevitably evoke curiosity.

The challenge then is converting that curiosity into fandom, but considering the creative team’s consistency with KiiiKiii’s concept, any visitors who enjoy the design are likely to enjoy KiiiKiii’s image and sound overall.

KiiiKiii’s Travel Website feels like the beginning of a new era of K-pop marketing. Starship Entertainment and byheyone have demonstrated that agencies have the capacity to be more creative with their strategies and designs, and given audience responses, proven that the additional effort required to execute such a campaign will not go to waste. At the same time, they have proven that creativity does not have to involve risking negative fan reception; the website harnesses new technology but does not aim to completely overhaul the traditional methods of using concept photos and teasers.

Ultimately, KiiiKiii’s marketing represents a return to the original, fun, creative nature of K-pop. Amidst international ambitions and the following of trends, some part of that often comedic, bizarre side of K-pop that caused the genre to become popular has been lost, and marketing strategies like these stand out as an attempt at reinstating K-pop as a unique phenomenon in its own right – especially when they’re as successful as KiiiKiii’s.