Fashion in the K-Pop industry is undoubtedly in a class of its own - hence to uphold the standards of their visual aesthetics while simultaneously appealing to a wide range of audience, new fashion concepts are always being utilized.

Coming up with fresh ideas is always tough, especially so when a majority of the fashion styles have already been used and recycled again and again. But despite Kpop's repeated use of these fashion looks, they remain consistently popular because of the industry's unparalleled capability of delivering tasteful, highly appealing and effective aesthetics to us - people who are undeniably "visual-creatures".

There are countless fashion concepts K-Pop has presented to us so far, but there is one particular style that is revamped from time to time - retro-vintage fashion.

Retro fashion dates back to the 1940s (towards the 1980s) and often includes garments and accessories that are characteristic of such times. We will see certain fashion items like the bell-bottom jeans, big sunglasses, fedoras, chiffon scarves, thick belts, sport equipment, skinny jeans and many others.

Makeup also plays a vital role - with the likes of heavily-lined eyes and bright colored lipstick, and hairstyles such as pompadours, ponytails, and ducktails.

K-Pop artists have effectively utilized retro-vintage fashion to their advantage, with many of them experiencing success and popularity by capturing the essence of their music genre markedly well with these retrolicious concepts.

Here are a few examples of retro fashion concepts used on Kpop girl groups:

Wondergirls, 2008, "Nobody"

Girl's Generation, 2010, "Hoot"

Secret, 2011, "Shy Boy"

SPICA, 2014, "You Don't Love Me"

As we can see, the retro style concept remains to be highly relevant in the fiercely competitive nature of K-Pop where artistes continually change up their looks to be noticed. It is thus safe to say that this evergreen fashion style is in it to stay - having proven itself able to stand the test of time.

On the other hand, it is also interesting to note that retro concepts like these are largely adopted by girl groups in K-Pop and much less so with the opposite gender.

Perhaps the industry does not deem retro styles on boys as desirable to the fans as it is for the girls?

Yet it is hard to deny that such a style would compliment the fair-skinned, almost effeminate pretty boys so very well - especially so with "aegyo" (cute factor) being the rage since K-Pop's inception.