Kwon Eunbi reveals why she provides housing to her managers

Singer Kwon Eunbi has demonstrated exceptional 'loyalty management' by providing parts of her 2.4 billion won building as living spaces for her managers. Her decision to use spaces near her workplace to support the living foundations of her managers, rather than simply owning real estate assets, has drawn significant attention.

On the 12th, Kwon appeared on the JTBC variety show 'Knowing Bros' alongside comedian-turned-writer Go Myeong-hwan and broadcasters Oh Sang Jin and Kim So Young, where she revealed stories regarding her building. During the broadcast, the background of how she became known as a '2.4 billion won building owner' and the actual way the building is utilized were introduced.

Kwon explained that she does not reside in the building herself. The first floor houses a cafe she operates, the second and fourth floors are occupied by her managers, and the third floor is rented to a regular tenant.

Of particular interest were the rental conditions applied to her managers. Kwon revealed that instead of charging standard monthly rent, she only collects an amount that feels more like "maintenance fees" rather than rent, ensuring it is not a burden. In effect, she has significantly lowered their housing costs.

The reason for this choice lies in the nature of her managers' work. Kwon explained that her managers are friends who moved up from the provinces, and since the company does not provide separate accommodations, the burden of monthly rent is not insignificant. She also cited the fact that they are people who have worked with her for a long time as an important reason for her consideration.

Kwon explained that she "wanted to contribute even a little to providing a comfortable environment so that the managers can work." This is interpreted as a move to stabilize their living environments, considering the nature of entertainment management work, which involves repetitive long working hours and irregular schedules, going beyond simple employee welfare.

Unlike typical office jobs, entertainment managers often have schedules that extend from dawn until late at night, and their life rhythms become irregular when combined with regional or overseas filming schedules. The reason stars and managers often accompany each other for long periods beyond a simple employment relationship is also related to this professional specificity.

Kwon also emphasized the uniqueness of this relationship. Describing her managers as "friends who have worked with me for a very long time," she said, "I just want to help them a little more." She placed greater meaning on the living stability of the people she works with rather than the rental income that could be generated from the real estate.

This consideration is not the first time it has been revealed. Last year, Kwon also disclosed on MBC's 'The Manager' that her managers reside in her building. At that time, she stated that the managers were being provided rooms at prices lower than the market rate, and she explained that it was better to receive a reasonable amount that is not uncomfortable for both parties rather than not receiving rent at all.

Since then, Kwon's method of consideration seems to have become even more specific. In this broadcast, she went beyond the expression of 'low rent' and explained it as being 'around the level of maintenance fees,' revealing that she has further lowered the economic burden. Based on the explanation provided in the broadcast, her choice prioritizes the housing stability of those working with her over the profitability of the building.

The process of how Kwon became a building owner also garnered significant attention in the entertainment industry. She drew notice when it was revealed that she purchased a detached house in Songjeong-dong, Seongdong-gu, Seoul, for 2.4 billion won in 2024. Since then, she has been utilizing the building not just as an investment property but as her own business space by directly operating a cafe on the first floor.

Kwon is also known to be directly involved in operating the cafe. It was revealed that despite her busy schedule, she helps out with on-site tasks such as making drinks or doing dishes at the cafe when short-handed, showing a side that is somewhat different from the image of a 'celebrity building owner.'

Looking at Kwon's recent activities, it is difficult to view this tendency as a one-time act of kindness. When her relationship with her managers was introduced on KBS Cool FM's 'Gabie's Super Radio' on the 4th, Kwon explained that she is the type of person who wants to take care of those around her. Regarding asset management, she jokingly said she "gives too much," expressing the thought that caring for people can ultimately become another form of asset.

This differs from the familiar narrative of a celebrity's asset accumulation. Whenever a celebrity's building purchase is announced, the focus is typically on the purchase price, capital gains, and rental yields. In Kwon's case, however, the core of the story is how she connects her assets to the living stability of her staff.

Of course, the relationship between a manager and an artist in the entertainment industry is an employment relationship that is difficult to explain through emotional trust alone. As the period of working together lengthens, the boundaries between work and private life become more closely intertwined, making it important to institutionally guarantee appropriate compensation, working environments, and rest.

In that sense, Kwon's remarks go beyond personal kindness and offer food for thought regarding the labor environment of the entertainment industry. Reducing the housing cost burden for managers, who must endure irregular working hours and high mobility, can provide a practical welfare effect.

Kwon rose to prominence after her activities with IZ*ONE and established herself as a solo singer, significantly boosting her public recognition through the resurgence of 'Underwater' and her performances at 'WATERBOMB.' In particular, since 2023, she has established herself as a summer icon with the nickname 'WATERBOMB Goddess,' expanding her reach into variety shows and business alongside her music career.

Ultimately, this story about her building is not just about the wealth of a '2.4 billion won building owner.' Kwon's choice to provide a practical foundation like housing to those who have stayed by her side during her success—and to minimize those costs—serves as an example of how far the relationship between a star and their staff can extend.

If viewed strictly as an asset, maximizing rent might be the rational choice. However, Kwon has shown that in her relationships with those she has chosen, she places greater value on the sustainability of trust than on maximizing profit. This is why her words are resonating more than the figure of '2.4 billion won.'