Danielle Marsh, widely known as Danielle of NewJeans, was born on April 11, 2005, in Munsan, South Korea, to a Korean mother and an Australian father. Growing up in a multicultural environment, she speaks both Korean and English fluently, a trait that has enabled her to communicate with fans from across the globe with ease.
Danielle’s mixed heritage and broad exposure to both cultures shaped her dynamic personality, giving her a unique identity that resonates with international audiences.
She began her journey toward entertainment early in childhood. Danielle appeared on Korean television programs as a child, gaining familiarity with cameras and media. This early experience gifted her with confidence, charisma, and comfort in front of audiences.
It was not long before her passion for singing and performance solidified her dream of entering the entertainment industry.
Her breakthrough came when she became a trainee under ADOR, HYBE Corporation’s independent label. Under the guidance of CEO Min Hee-jin, ADOR introduced NewJeans in 2022, positioning them as a fresh, trend-setting girl group in the K-pop scene.
Danielle debuted as one of five members alongside Minji, Hanni, Haerin, and Hyein. From the start, the group was recognized for reinventing K-pop aesthetics with a refreshing Y2K-inspired image, youthful energy, and genre-blending music.
Danielle’s debut with NewJeans was marked by the release of their first single “Attention,” followed by tracks like “Hype Boy” and “Cookie,” which quickly became viral hits worldwide.
Their playful yet stylish approach distinguished them from mainstream K-pop, garnering massive support domestically and internationally. Danielle, known for her vibrant charm, cheerful personality, and natural stage presence, quickly became one of the standout figures in the group.
Career Highlights and Global Recognition
NewJeans emerged as one of the fastest-rising K-pop groups of the fourth generation. Their songs dominated music charts not just in Korea but also across global streaming platforms like Spotify and YouTube.
Hits such as “OMG,” “Ditto,” and later “Super Shy” confirmed the group’s ability to appeal to mainstream international pop audiences. Danielle, in particular, gained immense popularity for her bright smile, authentic communication with fans, and natural charisma, which connected deeply with younger audiences.
Her role in NewJeans is not limited to being a vocalist. Danielle has consistently drawn attention for her dance abilities, stage energy, and fashion sense.
Her approachable image resonates with fans who view her as both glamorous and relatable. K-pop followers globally often note her ability to transition seamlessly between serious performances and casual authenticity, making her one of the most beloved members of NewJeans.
Danielle’s popularity extended into entertainment media and endorsements. In 2023, she was announced as the global ambassador for Burberry, a major luxury fashion house. Her association with high-end brands highlighted her growing influence not just as a singer but also as a fashion figure.
She also became associated with other global brands like Gucci Beauty, showcasing her ability to impact both music and luxury markets. These brand deals reflected the immense commercial value Danielle brought to NewJeans.
Additionally, Danielle expanded her career into television and variety. She gained massive attention in January 2023 when she was announced as one of the hosts for Music Bank, KBS’s iconic weekly music program, where she became widely known for her charm and on-screen adaptability.
Her role as MC further cemented her image as an all-rounded entertainer.
Collectively, Danielle represents a new generation of idols who are not confined to music but stretch their influence across fashion, television, endorsements, and culture. This versatility continues to boost her personal profile and financial growth.
Net Worth
As of 2025, Danielle’s net worth is estimated to be around 2 to 3 million USD, placing her among the wealthiest rising stars of her generation. While her fortune is smaller compared to older idols with longer careers, Danielle’s young age and rapid rise indicate that her financial standing will continue growing at a swift pace.
The foundation of her earnings comes from NewJeans’ music success. The group’s releases consistently break streaming records, with tracks charting on Billboard and Spotify global charts.
Each release results in significant revenue from music sales, streaming royalties, and performance appearances. Danielle, as a vocalist and face of the group, shares in this income.
Live performances and tours are also crucial to Danielle’s net worth. NewJeans has performed in global showcases, brand festivals, and music award stages, generating revenue through appearances and merchandise sales. Official merchandise, concert packages, and fan meets further boost her profile and personal earnings.
Endorsements form a significant part of Danielle’s net worth. Her association with Burberry as its global ambassador brought her mainstream recognition in fashion circles.
Collaborations with Gucci Beauty and group endorsements for brands including Coca-Cola, Apple, Levi’s, Nike, and others represent millions in deals. These partnerships significantly add to Danielle’s financial portfolio, with her rising global influence assuring her place as a brand favorite.
Television and hosting roles also feed into her net worth. As an MC for Music Bank, Danielle earned both significant financial compensation and public exposure, expanding her reputation as a versatile entertainer.
TV personalities often earn steady incomes through such positions, and Danielle’s image as a young, exciting face made her hosting appearances very profitable for her career.
Her shareholding in HYBE, through ADOR, indirectly enhances her future financial potential. With HYBE’s status as one of the biggest entertainment companies in South Korea, her connection ensures a stake in long-term institutional growth.
Although specific share values for NewJeans members remain private, their brand power within HYBE projects assures them significant financial stability.
NewJeans Danielle (Credit: NBC)
As a teenager, Danielle’s investments may still be limited compared to senior idols, but her rising commercial appeal, music success, and endorsements guarantee rapidly increasing wealth. With continued global expansion for NewJeans, Danielle’s estimated net worth will likely see double-digit growth in the coming years.
Influence and Future Prospects
Danielle has quickly become a symbol of K-pop’s new global face. Her ability to connect with international audiences through language, charisma, and authenticity sets her apart.
As a Korean-Australian, she resonates with diverse fan bases worldwide, adding to her appeal. Young fans see her as someone relatable, admirable, and grounded, balancing youthful fun with professionalism.
Her involvement in fashion highlights a clear future pathway beyond music. Global luxury brands increasingly seek her presence due to her elegant yet approachable image.
Fashion critics have described her as one of the fastest-growing style icons among Gen-Z idols, and her partnership with luxury houses highlights her ability to bridge the worlds of art, fashion, and pop culture.
In terms of music, Danielle’s contributions will only grow as NewJeans expands into global tours and collaborations with international artists. With the group’s rapid rise in just a short span of time, their potential to rival senior groups in earnings and popularity suggests Danielle’s net worth will multiply in the years ahead.
Danielle’s warm image, combined with strong brand opportunities and the massive global fan base of NewJeans, ensures that her journey as both an idol and an individual artist will be financially and culturally impactful. Her career trajectory is only at its beginning, but her influence, wealth, and visibility are all set to soar.
The global popularity of manga has grown so much over the past few decades that it is no longer limited to just Japan. Once seen as a cultural product tied only to its home country, manga has become a worldwide phenomenon, with fans, artists, and publishers emerging across continents.
Recently, the Chief of Kadokawa’s Overseas Manga Department spoke about this very subject, saying that manga does not need to be made in Japan to truly be considered manga. This statement has sparked new discussions about how the definition of manga is evolving and how the medium is becoming more universal.
For many years, there has been debate over what can and cannot be called manga. Traditionalists have argued that manga must originate from Japan, be created by Japanese authors, and be published by Japanese companies. However, with the rise of digital platforms and global fandoms, many artists outside Japan have adopted the manga style of storytelling and illustration.
Their works are often inspired by Japanese manga, but they bring unique perspectives and cultural influences from their own backgrounds. According to Kadokawa’s overseas chief, these works should also be recognized as manga because what matters most is the art style, the storytelling techniques, and the passion behind the work, not simply the place where it was created.
Kadokawa is one of the biggest publishing companies in Japan, with a major role in spreading manga around the world. The company has long been at the center of international licensing, anime adaptations, and digital distribution. For an executive from Kadokawa to openly state that manga does not have to be Japanese in origin shows how the industry itself is starting to embrace the idea of manga as a global art form.
This reflects the reality of today’s market, where fans consume manga from many sources, and where international artists are contributing to its growth.
Eren From Attack on Titan (Credits: Attack on Titan Franchise)
Kadokawa Executive States Manga Doesn’t Need to Be Made in Japan
One reason behind this shift is the enormous rise of digital platforms. Online websites and apps allow creators from anywhere in the world to publish their work instantly, reaching readers across borders. Some of these non-Japanese manga-inspired works have gained millions of readers, showing that fans care more about the quality of the story and the art rather than the nationality of the creator. Kadokawa has recognized this trend and sees the potential in supporting overseas creators who can expand the reach of manga even further.
Another factor is the blending of cultures in modern storytelling. Many young artists worldwide have grown up reading Japanese manga and watching anime. They have absorbed its style of paneling, pacing, and character design, but when they create their own works, they add their personal voices and cultural experiences.
This fusion creates something fresh while still being rooted in the essence of manga. The Kadokawa executive’s statement suggests that the industry is ready to value these contributions equally, rather than dismissing them as imitations or something lesser.
For fans, this idea is exciting because it opens the door to more diversity in manga. Stories can now come from creators in countries like South Korea, France, the United States, India, or Brazil, while still carrying the heart and style of Japanese manga. Readers get to experience different settings, traditions, and social themes through a familiar format.
It also means that aspiring artists outside Japan can feel encouraged that their work has a place within the global manga community, instead of feeling excluded by strict definitions.
Manga Recognized as a Global Art Form Beyond Its Japanese Origins
Kadokawa’s willingness to support this idea may also change how overseas works are promoted and distributed. If publishers actively recognize non-Japanese manga as part of the same category, more international creators may get chances to publish with Japanese companies or collaborate with them.
This could create a stronger connection between Japan and the global community, making manga even more influential and accessible than it already is.
Isagi From Blue Lock (Credits: Blue Lock Franchise)
Ultimately, the statement that manga does not need to be made in Japan to be manga reflects the reality of how the medium has grown. Manga has become a global language of storytelling, understood and loved by people everywhere.
While Japan will always remain the birthplace of manga, its spirit has spread across the world. The creativity of international artists is not a threat to this tradition but a way to expand and enrich it. Kadokawa’s recognition of this truth shows that the future of manga will be more inclusive, diverse, and international than ever before.
This shift in thinking marks a new chapter for manga’s history. No longer seen only as a Japanese cultural export, it is becoming a global art form shaped by countless voices. Fans around the world can celebrate that their favorite medium is open to everyone, and creators can feel that their stories truly belong to the larger world of manga, no matter where they are from.
