THE CO-AUTHORED BRAND

Coach continues to appeal to Gen Z with two new initiatives. First up is &Coach, a new content series created with Gen Z communities, creators and cultural figures including Charli xcx, activist Malala Yousafzai, WNBA star Paige Bueckers, NASCAR driver Toni Breidinger, singer PinkPantheress, actor Avantika and South Korean girl group KiiiKiii. The content will be delivered on dedicated TikTok and Instagram accounts, with new ambassadors and community participation options to be added. It expands on themes like self-expression and identity that were part of Coach’s Spring 2026 book-focused Explore Your Story campaign, extending them into new cultural spaces.

Last – and by no means least – this week saw Coach announce a global cultural partnership with Spotify that will focus on experiential marketing activations for Gen Z, both on-platform and IRL. When viewed together, these activations show that Coach is taking a more holistic approach to connecting with Gen Z across culture, music, sport and activism.

  OUR TAKE

The luxury industry spent the last decade chasing Gen Z with passion-point strategies. While the logic was sound — Gen Z are passionate, community-oriented and typically spend where their interests live — it assumed those interests stay separate. And they don’t! According to Mastercard’s 2026 Next Growth Generation report, 65% of global Gen Z think of themselves as creators building their own personal brand, assembling an identity from music, sport, activism, fashion and more at once. Showing up in one place and hoping for a halo effect is no longer enough.

The brands that have worked this out are building around the spaces where identity actually forms. Luxury’s move into literary culture is one example: Miu Miu’s literary club and Jil Sander’s Reference Library at Milan Design Week show that, for many luxury brands, cultural credibility is the new currency. But most of these initiatives tap experts and institutions for authority, and the consumer mostly remains passive, attending and absorbing but not always contributing or building. Coach is trying something more participatory and, given that the brand spent much of the 2010s in the bargain bin, it had good reason to try something different. 

Coach CMO Joon Silverstein is a former cultural anthropologist who still visits the homes of women aged 18-30 with the goal of understanding who they’re trying to become. “A lot of brands mistake data for real insight,” she told the Wall Street Journal earlier this year. “You don’t learn about people or culture by reading research reports or by studying them afar.”

That thinking helped to shape Explore Your Story which included book bag charms developed by Penguin Random House and featured titles chosen by Gen Z customers. &Coach applies the same logic more broadly: Charli and co. aren’t there to lend cultural credibility. They represent the non-categorical way younger consumers build identity. The Spotify partnership builds on the same idea: music isn’t the passion point, connection is.

Coach sales hit US$2.14 billion in Q2 2026 (up 25% YoY) and the brand continues to gain traction with younger consumers (Gen Z represented roughly one-third of new consumers globally during the quarter). By 2030, Gen Z is projected to represent 25% of global luxury spending, up from 4% before the pandemic. As Silverstein explained at the Spotify launch, the brands that win won’t just be the ones that reach people; they’re the ones that bring people together.

Other brands are testing the same shift. In China, Salomon invited emerging designers to reinterpret its archive, then put the results to a public vote at its Shanghai concept store, with the winner getting a long-term collaboration. The archive remains Salomon’s, but consumers get a say in what gets made from it. See also the Vaseline Originals line that turned viral beauty hacks — many developed by early content creators who never got credit — into commercially available products. 

What Coach, Salomon and Vaseline have in common is a willingness to make the brand less of a finished story and more of a world consumers can build inside. For Coach, that means moving across multiple passion points and betting that Gen Z consumers want brands to make room for every part of their identity. For a brand without much signature aesthetic to protect, that may be an advantage. What does that mean for brands still betting on a single story?

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FANDOM MEANS BUSINESS

On flights from Manila to Seoul last week, Philippine Airlines offered some euphoria to BTS fans by offering banners to any passenger who could prove ARMY credentials. The thoughtful gesture was a hit on social media, with some calling for other airlines to follow suit. For those that missed out, Incheon International Airport provided consolation in the form of farewell messages on departure boards in the days following BTS’s comeback concert. 

That concert – held in Seoul’s Gwanghwamun Square – drew over 75,000 people from Korea and beyond, with 1 in 4 flying in from abroad to witness the event. The largest share of overseas fans came from Thailand, followed by Vietnam. BTS’s return from mandatory military service is, of course, big news for the record label but local Seoul businesses benefitted too: a traditional liquor maker tripled production for a highball brand endorsed by member Jin. Restaurants in Gwanghwamun hired temporary staff who speak Spanish, Uzbek, Burmese, and Japanese. And BTS-themed tours are doing brisk business nationwide. 

On the surface, these are examples of brands catering to BTS fans. But there’s an underlying shift here and it’s the idea that fandom doesn’t just drive culture. It also drives demand.

OUR TAKE

Long-term readers will know about the concept of the Culture Wallet, and how consumers spend around the passion points that express who they are and where they belong. For BTS fans, that means concert tickets, albums, merch, hotels, themed looks or accessories. Practical and emotional investments that allow them to be part of the moment.

But the Culture Wallet doesn’t stop there. When fan spending scales and concentrates, it results in a second wave of economic activity that ripples far beyond the artist. For example, Asian airlines are adjusting schedules and flight paths in response to K-Pop touring cycles (some carriers are adding temporary flights timed to concert dates). 

And according to data from tour sponsor Visa, foreign travel to South Korea surged more than 25% in the week of the concert, with travel spending up around 20% from an average week. (Side-note that Visa’s role goes beyond sponsorship, with the brand giving cardholders direct ticket access and running on-site merch booths across APAC tour stops). The Korea Culture & Tourism Institute estimates that one BTS concert can generate up to ₩1.2 trillion (around US$815 million) across retail,  hospitality, staffing and local commerce. These demand spikes should be anticipated in the same way as other major seasonal or event-led surges.

Another thing that makes this moment different is not just the spending, but the structure of fandom itself. In the past, fandom was often dismissed as irrational excess or a closed loop of repeat purchases. Today, it functions more like a live participation network: continuous, global and always-on. Fan-to-fan connection can be just as important as fan-to-artist devotion. The main event — in this case, the concert — is one part of the appeal. The evolving lore matters too, as does collecting proof and mementos that they were there. 

For many superfans, cultural devotion is both personal and communal. The real value doesn’t sit only in the concert itself. It comes from everything that’s around it: the travel, the community fans meet, the side-quests, the visible signals of belonging and, of course, the commerce that forms around all of that.  

For marketers, the opportunity is more than a one-off partnership or a themed product drop. Recent data from Live Nation found that 97% of fans want brands to play a bigger role in live entertainment and when brands are involved the effects are positive: a 75% uplift in brand consideration, while 80% leave liking the brand more. Fans don’t just tolerate brands’ presence at live events – they are inviting them into the space. And that means that the brands that see success here will be the ones that see past the ‘main event’ and build for everything that fans do around it. 

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 PHANTOM FANDOM

This November, virtual idol Hatsune Miku will make her Singapore debut as part of an Asia-wide tour that will also stop in Bangkok, Jakarta, Manila and Kuala Lumpur. The Miku Expo will be accompanied by offshoot events in Singapore and Seoul, bringing together musicians and DJs from across the community. Next year, she’ll partner with Pokémon for a crossover event in Tokyo.

Hatsune Miku might be the OG virtual idol, but she’s not the only one making waves. After selling over 1 million physical copies of their new album and becoming the most-streamed artist on Melon, virtual boyband PLAVE are also on tour (note: while Hatsune Miku is a fully virtual character powered by voice synthesis technology, PLAVE members are real performers whose identities are hidden behind digital avatars).

OUR TAKE

The Virtual YouTuber (Vtuber) economy is exploding – surpassing 500 million hours watched in Q1 2025, with Hatsune Miku videos hitting an all-time high in 2024. SEA in particular has a long history of forming fandoms around non-human characters, with characters like Hello Kitty and Monchhichi showing enduring appeal. Interest in the latter has increased following the recent success of Labubu.

In a world where human connection increasingly disappoints, mascots are consistent. So are virtual idols and AI companions – and they’re almost always available and scandal-free (PLAVE members probably aren’t going to get into a bar fight). Unlike human celebrities and influencers, characters and virtual performers offer fandom without fallout. This is parasocial connection without parasocial exhaustion.

For all the talk of digital escapism, SEA’s character economy has many physical elements. Think Labubu queues, KFC x Butterbear ‘meet & eat’ events and partnerships with Zara, Moo Deng mall takeovers… the list goes on. Fans don’t just follow these characters online, they show up for them IRL. And this helps to explain why virtual idols like Hatsune Miku are touring as well as streaming.

Here’s the thing: fifteen years ago, admitting you loved anime or virtual idols would have marked you as fringe. Today? The fringe has become the majority. Anime fans, gamers, VTuber audiences – AKA the ‘outsider kids’ – aren’t hiding in forums anymore. They’re setting the cultural agenda. Online communities didn’t just normalize niche interests; they revealed that these interests were never actually niche. They were just waiting for permission to go mainstream. Now when Hatsune Miku announces a tour or Butterbear releases merch, it’s not subculture – it’s the culture. The tastemaking pyramid is now inverted. Forget a few cool kids telling everyone what to like. Now, communities collectively decide what matters.

Two things to consider. First, Labubu fatigue is real, proving characters can overstay their welcome. Second, in China, Gen Z are turning themselves (or their pets) into collectible characters called ‘guzi’. Forget collecting characters – it’s now possible to become one. From worshipping idols to building virtual ones to becoming merch – the circle is complete. When everyone can become their own limited edition figurine, what competitive advantage remains for traditional mascots and virtual idols?

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SPIRITED AWAY (BY AI)

What do the White House, the distracted boyfriend meme and Zomato have in common? They’ve all been ‘Ghibli-fied’.

Over the past week, images recreating the aesthetic of Studio Ghibli have flooded social media, most created using the latest update to OpenAI’s GPT-4o. The update significantly improved the tool’s ability to generate images… and more controversially, to produce work in recognisable artistic styles. After Grant Slatton posted a family photo next to a Studio Ghibli anime, the trend took off (Slattons original post has been viewed more than 50 million times).

We’ve seen AI-generated images go viral before (remember 2023’s Pope in the puffer?), but this is the first time an AI-created image trend so directly leans into a specific visual identity. That raises the question: As technology continues to blur the lines between creation and automation, how does it redefine the essence of culture itself?

OUR TAKE

The biggest winner here might be OpenAI. On Monday, Sam Altman revealed that ChatGPT had “added one million users in the last hour”, citing “biblical demand” for the updated image generation service. The same day, the company raised US$40 B and nearly doubled its valuation to US$300 B, up from US$157 B in October. Not a bad start to the week…

Beyond OpenAI’s success, this trend also highlights the enduring appeal of Studio Ghibli. The studio’s hand-drawn animation is beloved not just for its aesthetics but for the emotions it evokes—its soft palettes, careful brushstrokes, and atmospheric storytelling transport viewers to a another world. Psychology Today even noted that Ghibli’s art activates the brain’s default mode network, a state linked to introspection and calm. The AI-generated versions tap into that same visual comfort, offering users a digital ‘safe space’ to insert themselves into. Nostalgia meets main-character energy.

But here’s the paradox. On one hand, ‘Ghibli-fying’ an image lowers the barrier to participation – anyone can see themselves in the world they love. On the other hand, it raises questions about what happens when AI-generated art removes friction from the creative process.

Compare this to last year’s ‘Accidentally Wes Anderson’ trend, which involved framing shots with precision, color-correcting, and curating scenes to fit a particular aesthetic. AI-generated art removes the trial and error, the decision-making, the creative struggle.And if effort is no longer part of the equation, how does that reshape our understanding of culture?

It’s easy to get caught up in the hype cycle of every AI-driven trend. But instead of just chasing viral moments, brands should ask themselves: Are we truly shaping culture, or simply reflecting what consumers already want? There was a time when brands took bold creative risks, shaping narratives rather than reacting to them—not because they were chasing engagement, but because they were driven by vision. Cultural relevance wasn’t a metric to optimize; it was the natural outcome of compelling storytelling and originality.

We are already seeing similar patterns in the media. Consider the number of sequels, prequels and (live-action) remakes Hollywood studios have churned out over the last decade. Audiences aren’t rejecting originality—they’re just being given fewer chances to encounter it. The same thing is happening with AI-generated art: the result might look like Studio Ghibli, but it lacks the depth and human imperfection that make the style resonate in the first place.

To borrow from Kyle Chayka: “In our present moment, I worry much less for artists, who are driven to create things, than for audiences, who may be content to settle for so many pale imitations.” Perhaps the biggest irony lies in the fact that Miyazaki himself once described an AI animation demo as “an insult to life itself”.

Now seems like a good time to mention copyright issues. In what could be a landmark case, The New York Times has filed a lawsuit against OpenAI for training ChatGPT on its articles without permission. OpenAI has added a refusal mechanism that triggers when a user attempts to generate an image in the style of a living artist’ while permitting ‘broader studio styles’. This creates a gray area: you can’t request art ‘in the style of Miyazaki’, but ‘Studio Ghibli style’ gets a hall pass.

As the debates about originality and ethics continue to play out, there’s a bigger lesson here for marketers. AI-powered tools aren’t just reshaping how consumers interact with creative content—they’re changing expectations around self-insertion, personalization, and effort.

The real challenge isn’t just AI’s ability to recreate beloved styles – it’s how we, as creatives and consumers, choose to engage with these new tools. AI can bring people closer to the stories they love, but will it inspire new ones?

For those of you born before 1997, ‘fax, no printer‘ is Gen Z speak for ‘undeniable facts I agree with’

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A year of optimism and creativity  

While global headlines might suggest otherwise, Southeast Asia is radiating optimism. In fact, Indonesia just topped Ipsos’ list of most optimistic countries for 2025 (Malaysia and Philippines are also on the list at #4 and #8 respectively) . Maybe it’s the rising number of dual-income households, or how multi-generational living helps channel savings into entertainment rather than utilities. Whatever the reason is, the region’s cultural confidence is soaring. Let’s break down what to watch out for market by market.

2025 will be the year of…self agency
From hustle to craft

Innovation in Indonesia has always been about upward mobility but with more basic needs being met (hello, financial inclusion), the focus is shifting from merely getting by into exploring more creative spaces. Local influencers have inspired others to discover a sense of agency; meanwhile, BNPL and social commerce have made it easier to turn aspiration into reality.

So, what’s changing in 2025? Global brands can no longer bypass this shift (recent hurdles faced by giants like Apple and Google highlight this pressure to adapt on a macro level). Tech has demonstrated what is possible and global brands must now address long overlooked pain points. Local language? Local payment methods? Appropriate pricing?  Purpose?

But it doesn’t end there. Local brands have been able to connect with the modern Indonesian consumer in ways global brands have yet to achieve. Influencers will be your best friend (and bridge).

2025 will be the year of…owning the narrative
From cultural cringe to cultural confidence 

The Philippines is probably the most talked about Southeast Asian country in Hollywood (Vietnam comes in close). But the spotlight has always come at a cost – Filipinos were often reduced to either punchlines or stereotypes (we’re looking at you, Jo Koy).

But all of that is about to change. As covered previously, 2024 saw Filipino entertainment break through globally and it was far from cringe. Beyond BINI and SB19, films and shows like A Very Good Girl and St. Denis Medical challenged the Pinoy stereotype and instead highlighted the depth of Filipino values,  igniting a wave of unprecedented cultural pride.

With the Philippines being the 3rd largest English speaking country in the world, watch Filipino creators step up as trendsetters and become part of more global platform partnerships.

2025 will be the year of…homegrown confidence
From wallflower to local gem 

Malaysia may not be the go-to destination for global artists or brands. However, from Grumpy Bagel’s accidental virality to the rise of (halal) American-inspired fried chicken joints, Malaysia’s innovative spirit is beginning to draw interest from within the region.

The ongoing boycott of international brands (a reaction to the war in Gaza) signals a larger cultural and economic movement. Homegrown brands have gained significant cultural cachet over international counterparts (Zus Coffee’s rise over Starbucks is a prime example). This growing recognition means local products and experiences are no longer “alternatives” but preferred choices.

In a globalised world, leaning into locality and heritage will be the ultimate form of luxury. For global brands, this isn’t just about reacting to culture (and introducing kaya flavoured pastries to the menu) but creating new spaces to facilitate conversations.

2025 will be the year of…coming of age
From promising newcomer to rising star

Vietnam has long been overshadowed by its neighbours in Southeast Asia, often seen as the “younger sibling” in the region—full of potential but yet to have its breakout moment. But that is all changing fast. Frugality and modesty have traditionally been key tenets of Vietnamese culture but in recent years, the market is experiencing a spending revolution.

And it’s not just small ticket items like smartphones and high-end cosmetics. Cars or properties are also becoming increasingly common purchases, fueled by a burgeoning middle class that now makes up more than half of all households.

While challenges remain—Vietnam still has one of the highest unbanked populations in the region—the mood is undeniably optimistic. Vietnam’s recent victory over Thailand in the AFC cup sparked national pride, setting the tone for a year of growing cultural and economic confidence. Global brands like Garmin who are already enjoying success in the market have started localizing their comms to resonate better with their audience.

From a booming craft beer scene to a national obsession with specialty gin, Vietnam is just getting started.

2025 will be the year of…tourism takeover
From getaway to the place to be

Thailand has long been a cultural powerhouse, but 2024’s same-sex marriage legalization set a progressive tone that further elevated the country’s global standing.

Already off to a good start, Thailand’s New Year countdown exceeded tourism expectations, and with the release of White Lotus Season 3 – set in Koh Samui – get ready to to see more of Thailand everywhere – from dominating your social feeds (if Moo Deng wasn’t enough) to travel itineraries.

Beyond its world-famous beaches and iconic temples, Thailand is also actively diversifying their tourism appeal with modern, man-made attractions (think entertainment complexes and water parks). In 2025, Thailand is the vibe everyone’s chasing

2025 will be the year of…balancing dual identities
From a global showcase to a personal reckoning

Singapore’s status as a mega-event destination is undisputed – just look at 2024’s sold-out Eras Tour and packed F1 season. The momentum will continue to build in 2025 as the city-state marks its diamond jubilee with a packed calendar of celebrations. Hotels, retail and dining will continue to benefit from this cultural tourism surge.

But there’s more to the story. Beneath the glitz and glamour, Singaporeans are reflecting on the pressures of their city-state’s global status. As Singapore bears the weight of being the region’s cultural hub, locals will continue to re-evaluate their aspirations. There has already been a reboot of the infamous 5C’s. A growing number of Singaporeans are rewriting the script, choosing slower, more intentional lifestyles over relentless ambition. Early retirement, financial freedom, and unconventional careers are now symbols of a quiet rebellion against the status quo.

For brands, the message is clear: tapping into Singapore’s cultural scene can help with immediate visibility. But aligning with the evolving values of Singaporeans – toward intentionality, balance and reflection– will foster deeper brand love.

Looking ahead 

From Manila to Ho Chi Minh City, each market is writing its own cultural playbook, and it couldn’t be any different from the West. As we dive into 2025, brands that understand and embrace this shift will make themselves part of something bigger than just another campaign.

OVER AND OUT!

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Angela, Catherine, Teri, Twila & Vicki

2024 was the year of… regional reign  

From the explosion of Filipino EDM genre budots across FYPs to P-pop group BINI making history on Spotify’s global charts, 2024 saw SEA entertainment solidify its place in the global spotlight and prove – once and for all – that local music acts can have just as much influence as Western artists. The impact went beyond beats: Indonesia cemented its position as a horror movie powerhouse and Thailand’s  How to Make Millions Before Grandma Dies dominated regional box offices before landing in the Oscar shortlist.

Our Take

Local creators and audiences are actively decentering Western media, turning instead to neighboring markets for inspiration and entertainment. The adaptation of Thai ghost stories for Indonesian cinema is just one example of that. These narratives win hearts within the region – and increasingly beyond, too, – because they tackle universally relevant themes like death, family dynamics and social pressures in ways that transcend the cultural packaging.

 Brand Takeaway

This cultural shift demands a strategic pivot from global brands in Asia. Rather than defaulting to global benchmarks, first look within the region and understand what resonates with consumers. Stop treating SEA content as ‘local’ – these are global stories that are just waiting for their moment!

2024 was the year of…the cute craze

Moo Deng’s viral takeover. Labubu collectibles. If it was cute, consumers wanted it. Some surprising brands and industries made the cute craze work for them: the Tourism Authority of Thailand enlisted Butterbear (one of the country’s most popular mascots) to attract Chinese visitors . But cute can go beyond superficial. The runaway success of Inside Out 2 showed how even kawaii-style characters could help audiences process complex emotions and mental health conversations.

Our Take

This goes beyond the status signal of owning the ‘right’ collectible. Cute products provide joy and escapism in an increasingly complex world, whilst also allowing owners a new route to self-expression and emotional expression in a region where discussing feelings directly isn’t always culturally comfortable. From tourism campaigns to entertainment, ‘cute’ can be a powerful tool for connecting with audiences on an implicit level.

 Brand Takeaway

Expect a continued interest in cute collectibles and other forms of implicit self expression. Think: keychains, merch and accessories with swappable elements. But remember, virality isn’t always about pressure to perform – so brands, don’t be perfect, be playful. Consider how cute can be a conduit to self-fulfillment, a way to help younger audiences articulate and navigate their (big) feelings.

2024 was the year of…fitness frenzy

Regular readers already know that fitness moved up the agenda over the last year, with casual running crews taking over city streets in Indonesia, Malaysia and beyond,  Hyrox becoming the new luxury flex and pickleball courts popping up everywhere (yes, everywhere). City dwellers are seeking outdoor escapes, leading to a rise in interest in hiking and workout schedules are getting a remix –  Kuala Lumpur earned the title of ClassPass’s ‘Night Owls’, with users most likely to book evening classes .

Our Take

Forget aesthetic goals. SEA’s fitness craze offers a perfect balance: collective activities that create space for individual growth in traditionally group-oriented societies. And given that the practice aligns with Asian pragmatism – concrete benefits and measurable progress – this is more evolution than trend. In fact, we anticipate this wellness momentum will spark greater awareness around food and diet, with ‘stealth wellness’ gaining ground (think everyday plant-based options or more vegan restaurants) and DIY fermentation and home growing attracting those seeking healthy options without the premium price tag. Productivity tools and AI will also see an increased adoption rate as people seek solutions that help them make more time for the things that matter.

 Brand Takeaway

The ongoing obsession with fitness reflects a larger cultural shift towards personal empowerment where people are actively seeking tangible ways to enhance their lives. Can you tap into this universal desire for growth and reimagine existing products / services through this lens? Look for ways to facilitate both individual progress and group connection – the sweet spot where SEA’s fitness movement thrives.

OVER AND OUT!

That’s all for this week! Next week we will dive into each SEA market and the opportunities for brands..Stay tuned for Pt.2! 

Pop culture insights are better when shared. Subscribe, forward this email on, or share the love on social media. Thanks for reading!  

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Angela, Catherine, Teri, Twila & Vicki

ANIME ASCENT 

Back in June, we called it – anime’s rapid (yet organic) crossover with sports – and guess what? This trend is only gaining steam, making a splash at the world’s premier sporting event. From the French fencing team performing a group Kamehameha to talented artists immortalizing athletes as animated characters, if you still needed proof that anime has firmly entered the mainstream, what better stage than the Olympics? Anime is breaking out of its “nerdy” bubble and popping into cultural spaces that never saw it coming. Buckle up!  

OUR TAKE 

Anime’s mainstream moment in the Asian zeitgeist has been well-underway prior to the Olympics. Back in the 2000s, when local TVs were stuck on repeat with a handful of Disney cartoons, anime was a weekly, communal experience that found home in Gen Z’s childhoods and hearts. Who can forget throwing shurikens at each other during recess? With early nods to local cultures like tempeh in Shokugeki no Soma and Thai boxing in Chibi Maruko-Chan, it’s no wonder that Asian Gen Zs have such a deep connection to anime.

However, unlike other passion points like K-pop and fashion that are pretty straightforward in their mainstream appeal, anime’s diverse genres and complex storytelling made its appeal less obvious to those outside the core fanbase. But niche is the new normal and anime’s market size, culture wallet, and consumption shows that it’s been pulling in some seriously big numbers. 47%.3 of the global market share was accounted for by the APAC region in 2023 meanwhile merchandise accounted for the largest market share of 29% the same year. 

Anime’s increasing dominance in mainstream pop culture can be attributed to a combination of democratized creativity and SEA’s strict censorship regulations. With the tech game getting easier and Gen Z’s intuitive understanding of anime culture, local artists and creators have been remixing anime-inspired content to reflect their day to day experiences better, leading to the popularity of creator-driven webtoons. Indonesia and Thailand are reported to be SEA’s largest markets with platforms like Kakao Entertainment and Naver Webtoon going head to head in their SEA investments. 

Also gaining popularity are Vtubers. Since its inception in 2019, Hololive Indonesia has quickly gained a massive following for its localized content and talent – promoting Indonesian culture and fostering a sense of national pride among its fans.  

Brands looking to create a (genuine) presence within the anime fandom can use the three core pillars of anime as a guide; 

Identity – Validating your audiences passion and identity is the first step. Think of ways to incorporate local culture into shows with a global presence. Netflix’s Trese is a great example of spotlighting the Filipino culture to the fandom on a more global scale.  

Community – Partner with existing fandom communities to create content that fuel conversations and speak for your brand. For those looking to go bigger, consider bringing together cross-cultural creators to access an even larger fanbase (think Hot Ones but anime x other areas of pop culture).

Co-creation – Creating a presence on platforms like voyce.me centralizes the anime fandom experience, putting your brand at the center of where content is consumed whilst still keeping it fan-centric. 

For those of you born before 1997, ‘fax, no printer‘ is Gen Z speak for ‘undeniable facts I agree with’

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WHEN PASSION POINTS COLLIDE 

At the US Olympic track and field trials, sprinter Noah Lyles had a secret weapon: the iconic (and rare) Blue Eyes White Dragon card from Yu-Gi-Oh!, which the current world champion kept tucked into his bib. For the uninitiated, Yu-Gi-Oh! Is a popular trading card game and anime series.

This isn’t the first time anime has popped up in sports. Dominic Solanke, who plays for Premier League side AFC Bournemouth, recently celebrated a (disallowed) goal by donning an orange mask – an homage to the character Obito Uchiha from the popular anime Naruto. Meanwhile, the NFL’s DeMarcus Lawrence has designed anime-inspired cleats and presented them at the Crunchyroll Anime Awards. So, what can we learn from this collision of passion points? 

OUR TAKE

1⃣ Anime is massive, and not just in Japan. Jujutsu Kaisen was the most in-demand TV show in the world in 2023 while Sony-owned Crunchyroll surpassed US$1B in global consumer spending. In Southeast Asia, the wide availability of the genre has resulted in huge followings in the Philippines, Indonesia, and Malaysia. Recent data suggests interest continues to shift away from US legacy shows and towards local content, including anime.

One consequence as anime continues to reach the masses? It’s rapidly intersecting with other passion points – like sport – in organic, authentic ways (side note that ‘football anime celebrations’ has over 118M TikTok posts). And these emerging hybrid identities will create opportunities for new marketing strategies and fan engagement models. This year, McDonald’s leaned into anime – imagine if the brand took that a step further in the run-up to the FIFA World Cup 2026 with anime shorts featuring soccer players or manga-style AR activations that told athlete backstories. 

2⃣ Anime is more than a watching experience, and fans consume in many other forms: shelling out on collectibles, engaging in cosplay, attending conventions… And with the global anime merchandising market predicted to grow at a CAGR of more than 9.4% between 2023 and 2030, there’s plenty of room for partnerships at the crossroads of anime and sports.

There are already some signs of this: My Hero Academia just revealed that a second collaboration with the NBA LAB and Hyperfly would be available later this year; and the Boston Red Sox will celebrate the 25th anniversary of One Piece in August with a special pre-game party and cosplay event. Our prediction? A partnership that matched anime character personalities and powers to boots or running cleats, would be an instant global hit.

So, a few things to consider: how would the right partnership allow your brand target crossover audiences that are fans of anime and sports? And how can you do this in an authentic way that mirrors the organic, totally unscripted responses of Noah Lyles and co.? Anything less could risk seeming opportunistic or oblivious.

For those of you born before 1997, ‘fax, no printer‘ is Gen Z speak for ‘undeniable facts I agree with’

WELCOME TO WCDONALD’S

No, that’s not a typo—McDonald’s is embracing anime and temporarily rebranding as WcDonald’s. As part of the campaign, the fast-food chain has partnered with Tokyo studio Pierrot to create four WcDonald’s-themed anime shorts (watch the first two here). McDonald’s has also worked with manga artist Acky Bright to create custom packaging for menu items, and there are weekly manga comics, too. And this coming weekend, an LA branch will be transformed into an ‘immersive dining experience’, inspired by the isekai anime sub-genre, where characters are transported into a different world. 

OUR TAKE

This foray into anime isn’t as random as it first appears. McDonald’s has been unofficially referenced in the genre for years, first appearing as the fictitious chain WcDonald’s in the 1981 manga Cat’s Eye. Now the brand is acknowledging that history, with Tariq Hassan, Chief Marketing and Customer Experience Officer at McDonald’s USA, commenting that “the WcDonald’s universe is a reflection of what fans have created. It honors their vision and celebrates their creativity…”. 

It’s been over 40 years(!) since that unofficial debut, so why is McDonald’s stepping into anime now? First, the genre has seen spectacular growth in the last few years, rapidly ascending from fringe to mainstream. Second, it’s popular with Gen Z: 42% of US Gen Z watch anime weekly, which is significantly higher than more established cultural touch points like the NFL (just 25% watch that weekly, although that number does pre-date Taylor and Travis). McDonald’s is simply moving into the space where young people are spending their time. The campaign will also further legitimize the passion point, paving the way for more brands to celebrate, enable, and cultivate anime fandom. Note: if you want a quick primer on the evolution of anime, check out Culture Drop: The Anime Impact. 

Anime collaborations and tie-ups can sometimes feel a bit random (ahem, Toyota ), but McDonald’s has a natural affinity with culture. The brand has appeared in everything from Friends to The Fifth Element and Loki, but it’s also been building long-term cultural equity through savvy partnerships—remember the collaborations with BTS and NewJeans? The WcDonald’s concept goes further, expanding into original entertainment and supporting up-and-coming anime artists. On that point, we’d love to see McDonald’s make this even more fan-centric, perhaps inviting aspiring anime filmmakers to come up with scripts featuring official franchises. 

Some final thoughts: this campaign acknowledges existing fans while inviting those less familiar with anime to start exploring the world. If you’re considering tapping into this passion point, consider how you can take as many fans as possible along for the ride. 

For those of you born before 1997, ‘fax, no printer‘ is Gen Z speak for ‘undeniable facts I agree with’

GENSHIN IMPACT GOES ON TOUR

To celebrate the 3rd anniversary of the popular mobile game Genshin Impact, publisher HoYoverse is launching Genshin Concert Tour: Melodies of an Endless Journey, a live orchestra performance of the game’s original soundtrack (OST). During Early Bird sales, tickets for the Singapore shows were sold out within 5 minutes, while the Malaysian on-sale site crashed due to overwhelming demand. General public sales start on Monday.

Our take

Genshin Impact is one of the most popular mobile games in recent times – it made between USD 2.3-3.5B in its first year, more than any other game did, and beat Fortnite for the most profitable first year. Regular readers would know that Southeast Asians love mobile gaming: over 40% of SEA gamers play for more than 16 hours a week, compared to only 30% in the US.

One element that people might be less familiar with, however, is the importance of music to the gaming experience. After all, when playing a game for hours on end, players need a score that compliments the gameplay well. Genshin Impact spared no expense here – the game’s OST was created by well-known Chinese composer Chen Yu-peng and performed by leading ensembles including the London Philharmonic Orchestra, the Shanghai Symphony Orchestra, and the Tokyo Philharmonic Orchestra. 

High-budget music may be expected from AAA console games – think titles like the Final Fantasy or Legend of Zelda franchises – but not typically mobile-first games which are long-known for generic chiptune music. The appreciation for the music of Genshin Impact has become a core part of the Genshin Impact fan experience, complete with its own merchandise! 

The key lesson for marketers here? Gaming’s popularity extends into various adjacent passion points, with music being one of them. The key is to understand the different ways people are engaging with the gaming experience, beyond pure gameplay. As early as 2019, Culture Group paired the Manila Symphony Orchestra with Riot Games for a performance at the Conquerors Manila fan festival. The opportunity is just as relevant today!

A final point to end with. We know that the live entertainment space in Southeast Asia is booming. Not all brands have the scale or budget to partner with global touring acts or the hottest new venues. But there are still surprising niches within live entertainment which might not be as familiar to marketers, yet command a significant and passionate fanbase nonetheless – like symphonic orchestra concerts of game soundtracks. Not sure where to start? Culture Group is here to help  

For those of you born before 1997, ‘fax, no printer‘ is Gen Z speak for ‘undeniable facts I agree with’