Challenging traditional notions of masculinity, androgynous fashion in K-pop merges elements of both feminine and masculine aesthetics, creating a unique visual language that transcends conventional boundaries. In the following, the origins, cultural significance, and impact of androgynous styling within K-pop boy groups will be explored, examining how it reflects broader societal shifts and contributes to the genre’s global appeal.

Historical Context

The roots of androgyny in fashion can be traced back to various cultural movements, from the glam rock era of the 1970s to the gender-fluid styles of the 1980s and 1990s. However, in South Korea, traditional cultural norms have long emphasized distinct gender roles, with conservative attitudes toward masculinity. K-pop boy groups began to disrupt these conventions in the late 1990s and early 2000s. Groups such as H.O.T. and Shinhwa incorporated softer, more delicate styling into their wardrobes, signaling the beginning of a shift. As K-pop evolved, the second and third generations of boy groups—TVXQ, BIGBANG, and SHINee—pushed the boundaries further, incorporating bold makeup, unisex clothing, and experimental hairstyles into their aesthetics. This set the stage for the current wave of androgynous fashion in fourth-generation K-pop groups.

Defining Androgynous Styling in K-pop

Androgynous styling in K-pop is characterized by a blending of traditionally masculine and feminine elements. This can include clothing, makeup, hairstyles, and overall appearance. Male idols often wear clothes traditionally associated with femininity, such as skirts, lace, and pastel colors, paired with sharper, tailored pieces to create a balance. Accessories like chokers, earrings, and nail polish are frequently used to accentuate this aesthetic.

One key aspect of androgynous styling is the use of makeup. Many K-pop boy group members regularly wear eyeliner, eyeshadow, and lip tint, enhancing their features in ways that blur gender lines. Hairstyles—ranging from long, flowing locks to brightly colored dye jobs—further contribute to the androgynous image. Groups such as BTS, Stray Kids, and TXT have embraced these elements, presenting themselves as versatile figures who defy conventional gender expectations.

Examples

BTS: As one of the most prominent K-pop groups globally, BTS has incorporated androgynous elements into their style. From their “Boy With Luv” era pastel suits to their gender-neutral Louis Vuitton ensembles, BTS exemplifies how androgynous fashion can enhance artistic storytelling.

ATEEZ: Known for their theatrical concepts, ATEEZ often blends masculine and feminine elements to reflect the duality of their music. In their performance of “Answer,” the members wore ruffled blouses and intricate jewelry, juxtaposed with sharp blazers and combat boots.

Stray Kids: Stray Kids’ recent fashion choices highlight an experimental approach to androgyny. Members like Hyunjin and Felix have become style icons, frequently sporting makeup, crop tops, skirts, and elaborate accessories that challenge gender norms.

Conclusion

Androgynous styling in K-pop boy groups is more than just a fashion trend; it is a cultural statement that challenges societal norms and expands the boundaries of self-expression. By blending masculine and feminine elements, K-pop idols create a dynamic visual language that resonates with fans across the globe. As the genre continues to grow in influence, its embrace of androgyny offers a powerful commentary on the fluidity of identity and the evolving nature of gender in contemporary society. K-pop’s fearless approach to fashion not only redefines masculinity but also paves the way for a more inclusive and diverse cultural landscape.

Herman, T. (2020). “How BTS Redefined Masculinity in K-pop”. Billboard.

Kim, H. J. (2021). “Stage Performance and Fashion: ATEEZ’s Androgynous Aesthetic”. Korea JoongAng Daily.

Park, S. (2022). “The Rise of Androgyny in Fourth-Generation K-pop”. The Korea Herald.

http://posturemag.com/online/is-kpop-as-queer-as-it-appears-to-be-androgynous-fashion-fan-service-and-boy-love-in-korean-pop-culture/

https://www.tatlerasia.com/lifestyle/entertainment/gender-neutral-androgynous-fashion-kpop

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https://www.scmp.com/magazines/style/celebrity/article/3091754/k-pops-lgbt-and-androgynous-idols-amber-liu-and-nuests

https://www.koreaherald.com/article/1771827

https://stuyspec.com/article/androgynous-fashion-and-the-appeal-of-mark-tuan

https://digitalcommons.denison.edu/cgi/viewcontent.cgi?article=1099&context=studentscholarship

https://www.diva-portal.org/smash/record.jsf?pid=diva2%3A1341295&dswid=3597

Design reflects the socio-cultural norms and values of the time. Whether in fashion, architecture, product development, or digital interfaces, gender has historically played a significant role in shaping the outcomes of design processes. However, the evolving discourse on gender inclusivity and diversity challenges traditional norms, influencing designers to adopt more unbiased approaches. 

Gender Bias in Historical Design

Historically, design has often maintained gender stereotypes. Products and spaces have been made to fit binary and patriarchal perceptions of gender. For example:

1. Fashion: Women’s clothing has emphasized beauty and conformity, while men’s attire prioritizes functionality and authority. This contrast reinforces gendered expectations about appearance and roles (Crane, 2000).
2. Architecture: Public and private spaces have frequently been designed to serve to men’s needs and interests. Historically, offices and urban spaces were conceptualized with male users in mind, often marginalizing women’s experiences (Spain, 1992).
3. Product Design: Consumer goods, such as razors, toys, and electronics, have been marketed through gendered aesthetics, like pink for women and blue for men, further establishing binary perceptions (Pinker, 2002).

The Shift Towards Inclusivity

In recent decades, the design world has increasingly embraced gender inclusivity, reflecting broader societal shifts. Several initiatives and movements have played pivotal roles:

1. Unisex and Androgynous Fashion: Brands like Rad Hourani and Telfar champion unisex clothing lines, rejecting binary norms. This trend allows individuals to express themselves without adhering to traditional gender roles (Steele, 2018).
2. Inclusive Architecture: Architects now focus on creating spaces that accommodate diverse users. For instance, gender-neutral bathrooms and lactation rooms in workplaces recognize the needs of non-binary and female users (Anthony, 2001).
3. Tech and Digital Design: In user interface (UI) and user experience (UX) design, inclusive practices include diverse avatars, non-binary gender options, and features that avoid gender assumptions (Schlesinger et al., 2017).
4. Grassroots Movements: Feminist and LGBTQ+ advocacy has amplified the importance of inclusivity in design, influencing industries to adopt more equitable practices (Ahmed, 2012).

Remaining Challenges

Despite progress, gender inclusivity in design is far from universal. Challenges include:

• Resistance to Change: Traditionalists often view inclusivity efforts as unnecessary or politically motivated (Huppatz, 2015).
• Intersectionality: Designers frequently overlook how gender intersects with race, class, ability, and other identities, resulting in partial inclusivity (Crenshaw, 1989).
• Tokenism: Some efforts toward inclusivity are superficial, failing to address systemic issues (Powell, 2020).

Gendered Design in K-Pop

K-pop offers a fascinating lens through which to examine gender in design. 

1. Challenging Norms Through Androgyny: Many K-pop idols, such as G-Dragon and Taemin, blur traditional gender lines in their fashion and performances. They adopt fluid aesthetics that challenge the binary notions of masculinity and femininity, inspiring fans and designers worldwide to embrace non-conformity (Epstein & Turnbull, 2014).
2. Fashion as a Tool for Expression: K-pop stylists use bold and innovative designs to create personas that defy stereotypes. Male idols often wear makeup, jewelry, and clothing traditionally associated with women, while female idols experiment with powerful and androgynous looks (Kim, 2016).
3. Fan Engagement and Gender Representation: K-pop’s interactive culture encourages fans to explore their identities. Music videos, album art, and merchandise design often incorporate inclusive and aspirational elements that resonate with diverse audiences (Oh, 2019).
4. Critiques of Exploitation: Despite its progressive image, K-pop faces criticism for commodifying gender fluidity without fully addressing the societal issues surrounding gender equality. Some argue that while idols’ appearances challenge norms, their tightly controlled public personas perpetuate traditional hierarchies (Lie, 2015).

Conclusion

Gender in design is a multifaceted and evolving field. While historical biases have long shaped the landscape, contemporary movements and industries like K-pop demonstrate the potential for design to challenge stereotypes and foster inclusivity. However, true progress requires not only aesthetic changes but also systemic efforts to undo oppressive structures. By critically examining and addressing these complexities, the design world can create spaces, products, and experiences that authentically represent and empower all individuals, regardless of gender.

References

Ahmed, S. (2012). On Being Included: Racism and Diversity in Institutional Life. Duke University Press.

Anthony, K. H. (2001). Designing for Diversity: Gender, Race, and Ethnicity in the Architectural Profession. University of Illinois Press.

Crane, D. (2000). Fashion and Its Social Agendas: Class, Gender, and Identity in Clothing. University of Chicago Press.

Crenshaw, K. (1989). “Demarginalizing the Intersection of Race and Sex: A Black Feminist Critique of Antidiscrimination Doctrine, Feminist Theory and Antiracist Politics.” University of Chicago Legal Forum, 1989(1), Article 8.

Epstein, S., & Turnbull, J. (2014). “Girls’ Generation? Gender, (Dis)Empowerment, and K-pop.” Journal of Asian Studies, 73(1), 141-164.

Huppatz, D. J. (2015). “Revisiting Gender and Architecture in Theory and Practice.” Architectural Theory Review, 20(2), 144-158.

Kim, Y. (2016). “Idols of Development: The Globalization of K-pop and the Gender Politics of the Male Idol.” Media International Australia, 161(1), 122-130.

Lie, J. (2015). K-pop: Popular Music, Cultural Amnesia, and Economic Innovation in South Korea. University of California Press.

Oh, C. (2019). “Queering Hallyu: K-pop, Gender Nonconformity, and Global Fandom.” The Korean Wave: Korean Popular Culture in Global Context, edited by Youna Kim, Routledge.

Pinker, S. (2002). The Blank Slate: The Modern Denial of Human Nature. Penguin Books.

Powell, R. (2020). “Tokenism in Design: Moving Beyond Representation to Real Change.” Design Issues, 36(3), 67-78.

Schlesinger, A., Edwards, W. K., & Grinter, R. E. (2017). “Intersectional HCI: Engaging Identity through Gender, Race, and Class.” CHI Conference on Human Factors in Computing Systems Proceedings, 5412-5427.

Spain, D. (1992). Gendered Spaces. University of North Carolina Press.

Steele, V. (2018). Paris Fashion: A Cultural History. Bloomsbury Publishing.

https://events.forum-holzbau.com/pdf/meran10_Brandes.pdf

https://www.tandfonline.com/doi/abs/10.1080/13527266.2014.918050

https://www.taylorfrancis.com/books/mono/10.4324/9781315254593/gender-design-marketing-gloria-moss

https://www.jstor.org/stable/1511881

https://dl.acm.org/doi/abs/10.1145/3290605.3300283

After exploring feminist movements and the bold visuals of protest design in my previous posts, I began to wonder about the power of design in addressing issues that society often avoids altogether. While protest design fights for visibility and action, it also lays the groundwork for addressing the topics we shy away from: taboos. These are the subjects—like menstruation, mental health or sexuality and sex—that have been held in stigma and silence for generations (Bentley, 2022).

Design, with its unique ability to provoke thought and evoke emotion, is emerging as a powerful force to challenge these unspoken issues. Through creativity, designers are bringing these topics into the open, encouraging dialogue, and fostering a culture of understanding.

First of all, why do we even have Taboos?

Taboos exist to maintain social order and protect cultural values. They help define the boundaries of acceptable behaviour, shaping how individuals interact within a community. By setting these boundaries, societies ensure the stability of relationships, prevent harm, and preserve traditions. Taboos also reflect deeper fears, beliefs, and the need for respect in various contexts, from moral codes to personal boundaries (Jones et al., 2008).

Taboo of Menstruation

Menstruation has long been a taboo topic, shrouded in euphemisms and discomfort. For decades, advertisements depicted blue liquid instead of blood and avoided any realistic portrayal of menstruation (Germerott, 2023). But in recent years, bold design has been at the forefront of breaking these stereotypes (United Nations, 2024).

Bodyform’s “#BloodNormal” Campaign was a groundbreaking campaign in 2018 that broke away from sanitized norms by using realistic depictions of period blood in ads. By showing what menstruation actually looks like, the campaign normalized periods and encouraged open conversations about them (Campaigns of the World, 2017).

Mental Health: From Stigma to Awareness

For decades, mental health has been surrounded by silence and stigma, but design is helping break this cycle.

• The Semicolon Project: A simple semicolon, representing a pause rather than an end, has become a powerful symbol of hope for those struggling with mental illness. The project was established in 2013 to raise awareness and to start talking about mental health issues like depression, addiction, self-injury and suicide (Project Semicolon, 2025). This minimalist yet emotional design has been embraced globally, often appearing in tattoos as a sign of solidarity.

• Posters and Campaigns: Organizations like Time to Change use bold, brightly colored posters to encourage open discussions about depression, anxiety, and therapy (Time To Change, 2019). These designs often feature approachable typography paired with direct, compassionate messaging.

Sexuality and Gender Identity: Breaking Norms Through Visibility

Design has played a central role in fostering acceptance and inclusivity for topics like sexuality and gender identity. For Example, Gilbert Baker’s iconic rainbow flag started as a symbol of LGBTQ+ pride (Gilbert Baker Foundation, 2019). It has since evolved into numerous variations, like the Progress Pride Flag, which incorporates stripes for transgender and people of colour communities. These designs visibly represent diversity and inclusivity and has created a safe space and form of identity that has helped a lot of people to talk and learn about their sexuality as it wasn’t accepted for many years.

Also, the topic of sex education is so important for the youth but wasn’t properly talked about for so long. The design of sex education materials, including apps, websites, or even physical models, navigates the tension between education and cultural taboos and can often be done anonymously which eliminates possible shame (Buchmann, 2023).

For instance, Planned Parenthood designs user-friendly, non-judgmental interfaces for teens seeking sexual health information (Planned Parenthood, 2019).

Why Design Works

The power of design lies in its ability to bypass language and cultural barriers. A single image or symbol can convey a message instantly and provoke an emotional response (PwC, 2017). For example, a vivid poster on body positivity or a sculpture addressing domestic violence can evoke empathy and challenge ingrained biases.

Design also creates visibility for marginalized groups. When a taboo is represented visually, it gains legitimacy and enters public discourse, making it harder to ignore (Celestine, 2023).

Challenges and Criticisms

Using design to address taboos isn’t without challenges. Pushback from audiences who find the work provocative or inappropriate is common. There’s also the risk of commodification. When corporations adopt taboo-breaking designs for profit without authentic commitment to the cause, the message can feel hollow or exploitative (Najafi et al., 2024).

Lastly, Are Taboos a good thing sometimes?
There are voices that state thatit is important to have taboos in some contexts and they play a crucial role in building civil society. They establish boundaries that protect collective values and prevent harmful rhetoric from destabilizing social harmony. For instance, taboos against hate speech or discriminatory language reinforce ethical standards and preserve respect (Singh, 2023).

Yet, the line between a constructive and oppressive taboo is delicate. Overuse or misuse of taboos risks silencing necessary discussions, freezing consensus, and stifling progress. When taboo topics are avoided, their underlying issues can fester in silence, leading to backlash or misunderstanding. Conversely, a thoughtful re-evaluation of taboos can lead to renegotiation of societal norms, as seen in shifts around LGBTQ+ rights or discussions of racial inequality.

In the age of the internet, where taboos are routinely challenged and reshaped, the question is not merely whether breaking a taboo is good, but whether it leads to meaningful, constructive change. Breaking certain taboos can liberate dialogue, but it also risks eroding protections that took centuries to establish. Navigating this tension thoughtfully is essential to ensure that what is unspeakable remains a safeguard for humanity, not a barrier to progress (Schwartz, 2019).

Sources

Bentley, M. (2022). A New Model of “Taboo”: Disgust, Stigmatization, and Fetishization. International Studies Review, 24(3). https://doi.org/10.1093/isr/viac028

Buchmann, M. (2023, July 24). Shedding Sexual Shame After Really Bad Sex Ed. Momotaro Apotheca. https://momotaroapotheca.com/blogs/vaginal-wellness/shedding-sexual-shame-from-poor-sex-education-in-america?srsltid=AfmBOor6Da7NbSbF4bwm5_27zJUtcJrihYD2jCCYhK0WAeUUu9WQUXuD

Campaigns of the World. (2017, October 21). Bodyform – “Periods are normal. Showing them should be too.” #BloodNormal – Best Advertising Campaigns & Marketing Strategy. Campaigns of the World. https://campaignsoftheworld.com/digital-campaigns/bodyform-blood-normal-campaign/

Celestine, A. (2023, August 22). The Power of Design to Drive Positive Social Change. Celestine’s Design Journal. https://medium.com/design-grip/the-power-of-design-to-drive-positive-social-change-e9830da28584

Germerott, I. (2023, March 2). Blut und Scham: Wie die Menstruation zum Tabuthema wurde. National Geographic. https://www.nationalgeographic.de/geschichte-und-kultur/2023/03/blut-und-scham-wie-die-menstruation-zum-tabuthema-wurde-religion-patriarchat-wissenschaft-medizin

Gilbert Baker Foundation. (2019). Rainbow Flag: Origin Story. Gillbert Baker. https://gilbertbaker.com/rainbow-flag-origin-story/

JONES, J. P. G., ANDRIAMAROVOLOLONA, M. M., & HOCKLEY, N. (2008). The Importance of Taboos and Social Norms to Conservation in Madagascar. Conservation Biology, 22(4), 976–986. https://doi.org/10.1111/j.1523-1739.2008.00970.x

Planned Parenthood. (2019). Planned Parenthood. Plannedparenthood.org. https://www.plannedparenthood.org/learn

Project Semicolon. (2025). Project Semicolon – Suicide Prevention and Mental Health Awareness Organization – Your Story Isn’t Over. Project Semicolon – Your Story Isn’t Over. https://www.projectsemicolon.com/

PwC. (2017). The Power of Visual Communication.

Schwartz, A. E. (2019, March 14). Opinion | Why We Need Taboos. Moment Magazine. https://momentmag.com/opinion-why-we-need-taboos/?srsltid=AfmBOoo74N415TBzmN44zEsTbExTaJPz8NJCwg2p-gCuQOZIzByF1pDL

Singh, P. (2023, September 24). Taboos have played a significant role in shaping human societies throughout…. Medium. https://medium.com/@soamsila/taboos-have-played-a-significant-role-in-shaping-human-societies-throughout-548705671451

Time To Change. (2019). Time to Change | Let’s End Mental Health Discrimination. Time-To-Change.org.uk. https://www.time-to-change.org.uk/

United Nations. (2024). Breaking the taboos around menstrual health for gender equality. OHCHR. https://www.ohchr.org/en/stories/2024/05/breaking-taboos-around-menstrual-health-gender-equality

In an industry dominated by hyper-feminine and hyper-masculine branding, Aesop stands out as a benchmark for gender-neutral design. The luxury skincare brand has cultivated an aesthetic that feels both refined and universal, proving that effective design doesn’t need to rely on traditional gender cues. But what makes Aesop’s approach so successful? And what can other brands learn from it?

Stripping Away Gendered Clichés

Many skincare brands lean heavily on gendered marketing—soft pastels and floral motifs for women, dark packaging and bold typography for men. Aesop rejects this binary entirely. Instead of relying on color-coding or stereotypical imagery, the brand embraces minimalism, neutral tones, and functional elegance.

• Packaging: Aesop’s signature amber bottles and uniform labeling eliminate gendered visual cues, making the products feel accessible to all.
• Typography: The brand uses clean, sans-serif fonts with consistent, evenly spaced lettering—avoiding decorative or aggressive typefaces often associated with gendered branding.
• Fragrance: While many brands market scents as distinctly “masculine” or “feminine,” Aesop’s botanical blends are designed to be universally appealing, balancing earthy, herbal, and citrus notes.

By prioritizing simplicity and consistency, Aesop creates a design language that feels timeless, sophisticated, and non-exclusive.

Designing for Experience, Not Gender

Aesop’s gender-neutral approach extends beyond packaging—it’s embedded in the brand’s entire retail experience. Each store is uniquely designed to reflect its local surroundings, reinforcing the idea that Aesop is for everyone, everywhere.

• Neutral Materials: Stores favor natural materials like wood, stone, and metal, rather than stereotypically “masculine” industrial designs or “feminine” luxury aesthetics.
• No Gendered Sections: Unlike many skincare retailers that divide products into men’s and women’s categories, Aesop organizes by function and need—ensuring that customers select based on skincare concerns, not societal expectations.
• Consultation-Driven Shopping: Aesop’s retail experience is centered around personalized consultation rather than gendered marketing, reinforcing a human-first approach to beauty and self-care.

This philosophy ensures that every customer feels equally considered and valued, regardless of gender identity.

What Other Brands Can Learn

Aesop’s success in gender-neutral design isn’t just about aesthetics—it’s about rethinking how brands communicate with their audiences. Here are key takeaways:

1. Function Over Stereotypes: Instead of designing for “men” or “women,” focus on what the product does and how it benefits the user.
2. Consistency is Key: A clear and minimalist design language ensures that branding feels cohesive and inclusive.
3. Experience Matters: Beyond visuals, consider how retail spaces, digital touchpoints, and customer interactions reinforce a neutral, welcoming brand identity.

Why Aesop’s Approach Works

Aesop proves that gender-neutral design is not about being bland—it’s about being intentional. By stripping away unnecessary gendered cues and focusing on quality, functionality, and experience, the brand has built an identity that resonates across demographics.

As more industries move toward inclusivity, Aesop stands as a powerful example of how brands can create design-first, human-centered experiences that transcend gender norms.

Sources

1. Aesop’s Official Design Philosophy
2. Minimalist Branding & Gender Neutrality in Design
3. How Aesop’s Retail Spaces Create Inclusive Shopping Experiences