The numbers have been filed, and they are not small. According to disclosures submitted to South Korea's Financial Supervisory Service on Sunday, OA Entertainment — the company that Blackpink member Jennie founded in late 2023 — has paid her a total of 23.8 billion Korean won, approximately $13.7 million, in just two years of operation. That figure, classified as cost of sales in the company's audit report, reflects earnings from advertising, concert performances, music releases, and television appearances. It is the first time a K-pop artist of Jennie's profile has had this scale of independent earnings exposed publicly through regulatory filings, and the entertainment industry is taking note.

For context: 23.8 billion won in two years, from a company she owns entirely, operating alongside — not instead of — her work with one of K-pop's most successful girl groups. That is the structure Jennie built, and the financial disclosure suggests it is working considerably better than most outside observers knew.

Inside OA Entertainment: The Label She Built for Herself

Jennie founded OA Entertainment in late 2023, shortly after her long-term exclusive contract with YG Entertainment expired. The name stands for "Odd Atelier" — meant to evoke an unconventional creative space, a departure from the traditional agency model where artists sign over control of their careers in exchange for infrastructure and promotion. Jennie's solution was not a clean break but a dual structure: she remains available for Blackpink group activities through a continued arrangement with YG, while managing all solo album releases, independent advertisement deals, and personal concert appearances through OA.

She holds a 100 percent stake in the company. Her mother serves as chief executive. And in a detail that industry analysts have highlighted as a marker of personal financial commitment, Jennie has personally lent money to her own company through shareholder loans, which reached approximately 2.86 billion won at the end of last year — a figure that has risen sharply year-over-year, interpreted as a sign that she is betting on her company's growth rather than extracting from it.

The revenues bear that confidence out. In its first full year of operation, OA recorded revenue of 18.9 billion won and an operating profit of 580 million won. By 2025, revenue had grown approximately 26 percent to 23.8 billion won. Operating profit dipped slightly to 390 million won, a result the industry attributes to upfront staffing costs and expanded service fees as the business built out its infrastructure. In sum, OA went from launch to a fully operational, 23-billion-won-revenue entertainment company in roughly two years — a pace that would be notable for any entertainment startup, let alone one founded by a single artist.

The Dual Structure That Changed K-Pop's Playbook

The model Jennie pioneered at OA — simultaneously maintaining group activities through a major agency while managing solo work under personal ownership — has attracted close attention from other artists and their representatives. Historically, the K-pop agency system required near-total exclusivity. Artists signed during their training years, gave over image rights and creative direction, and in exchange received promotional infrastructure, global distribution, and management. The exchange worked commercially, but it also meant that the artists who generated the revenue had limited ownership over what that revenue became.

What Jennie did was not unprecedented — other K-pop artists have left agencies and gone independent — but doing it on her scale and while maintaining Blackpink activity is new. Industry insiders quoted in Korean media have pointed to her model as evidence that artists with sufficient global reach can now negotiate hybrid arrangements that preserve group affiliations without surrendering solo earnings. "Jennie has shown that you can step outside the major agency system and still generate revenue directly on the basis of global influence," one industry source told Korea JoongAng Daily. OA Entertainment, alongside labels like Incode Entertainment established by other Blackpink-era artists, is being cited as a blueprint others may follow.

From Coachella to the Met Gala: Jennie's 2026 Global Footprint

The financial figures exist in the context of a public profile that has been running at full speed. In April 2026, Jennie attended the 2026 Met Gala in New York, drawing international media coverage as one of the event's most photographed arrivals. Earlier this year, TIME Magazine named her to its list of the 100 Most Influential People in the World for 2026 — not just the most influential in music, but across all categories — making her the only K-pop artist to appear on the list.

Her solo album "Ruby," released in 2025, had three tracks enter the Billboard Hot 100 simultaneously upon release, a record for a K-pop female solo artist. The album's lead track "Like Jennie" became the most streamed K-pop song on Spotify in the first half of 2025 — ahead of group releases, ahead of her Blackpink catalog, and ahead of every other Korean act across the platform's global listenership for the period.

She has also been booked as a headliner at seven major international music festivals over the past two years, including a confirmed slot at Lollapalooza in Chicago — a booking that places her alongside established Western headliners and that, for an Asian solo female act without a band structure behind her, is exceptional. The festival bookings are relevant to the financial picture: each headline slot represents direct revenue to OA Entertainment, not to YG, processed entirely within the structure Jennie controls.

Blackpink, for its part, remains one of the most commercially valuable acts in K-pop. Jennie's continued participation in the group's activities — including promotional cycles managed through YG — has kept her profile tied to the group's global fandom base while her individual pursuits have built a separate, parallel financial stream. The two operate without apparent friction, which is part of what makes the arrangement structurally interesting to the industry.

What the Disclosure Means for K-Pop's Business Future

For most K-pop artists, the financial terms of their careers are not public. Earnings from advertisements, royalty distributions, and performance fees flow through private contracts between artists and agencies, disclosed in aggregate at best. OA Entertainment's public audit filing, required because of the company's size and structure, has made visible something that previously remained opaque: how much a globally successful K-pop artist can earn when she controls the commercial structure around her solo activities.

The answer, in Jennie's case, is $13.7 million in two years — and the business is still growing. The 26 percent revenue increase from 2024 to 2025 suggests OA is not plateauing. The shareholder loans indicate Jennie is reinvesting rather than withdrawing. And the international festival bookings and TIME 100 recognition suggest that the global demand for her as an individual artist — separate from any group affiliation — is being met by a structure designed to capture that value directly.

Younger K-pop artists and their management teams are watching closely. The long-standing model of signing with major agencies in exchange for global infrastructure made sense when that infrastructure was difficult to replicate independently. The question Jennie's financial filings raise, implicitly, is whether it still does — and whether the artists who will define the next decade of K-pop will be as willing as their predecessors to hand over the commercial rights to what their influence creates.

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Jennie's Label Paid Her $13.7M — in Two Years