For starters, take the word cheonyeo (처녀) in its Korean title. Many sources do give “young unmarried woman” as one meaning, so “girls” seems fine for the English. (When they’re obvious, Korean usually omits plurals.) But most translate it as “virgin” first.
Why would Sunwoo choose something so loaded? The neutral term agasshi (아가씨) is far more common.
Possibly, she simply hoped to capitalize on the name-recognition, as she acknowledges being inspired by a well-known folk song of the same title. It’s also true that the lyrics are really quite chaste.
Possibly, I just have a dirty mind.
But then there’s the MV. Watch it, and by its end you’ll have a dirty mind too. Add that there’s no connection to the folk-song whatsoever, and it’s difficult not to think that Sunwoo deliberately primed Korean listeners with a blatant double entendre :
Originally, my intention for this post was to give equal attention to Sunwoo and Lee. But Spring Girlsrapidly proved to be a more deserving subject, and not just because Lee’s work has had enough written about it to fill volumes, both in English (#1, #2, #3, #4), and in Korean (#1, #2, #3, #4, #5, #6, #7, #8, #9). Rather, it’s because whereas individual paintings of his may strongly resemble some screenshots from the MV, a crucial difference is that Lee has made a whole series (NSFW) of almost nothing but such headless images of women, most of which are much more sexually explicit than the examples given here. Whats more, and very unusually for an artist, Lee provides no titles or descriptions of those paintings either, as if to even further stress the dehumanization and objectification of the women in his work.