The terms “genderless” and “gender free” are appearing more frequently within the K-pop space. The first genderless K-pop group, XLOV, is rising in popularity; more male idols are joining modelling campaigns for womenswear lines; comeback concepts are pushing gendered boundaries in an attempt to garner attention online. However, during a recent comeback showcase, XLOV’s leader Wumuti shone a spotlight on an issue arising within this trend: is K-pop using genderlessness in a meaningful way, breaking out of the rigidity of gendered stereotypes intentionally, or only doing so at a surface level for the sake of engagement and the ability to use “buzzwords”?

For a long time, K-pop has integrated a degree of genderlessness or androgyny. Though the two are different, both centre around the subversion of typical gender roles and their physical associations, and idols often display this more so than Western artists. Male idols with intricate make-up in both casual and glam settings, the excessive use of jewelry and the occasional skirt or dress, long or complex hair styles and hair extensions – the majority of fans will have heard questions or criticism from those outside of the K-pop space over male K-pop artists being “too feminine.” On the other hand, female idols with strong voices or rap-focused roles are taunted for the opposite.

Recently, XLOV has been paving the way for gender-fluid aesthetics to become a more concrete fixture within K-pop, moving away from instances of subversive clothing and instead forming a permanently genderless group. The first of its kind, XLOV describe their overall concept as “genderless” or “gender free” interchangeably, and have done so since their debut. Immediately, this approach found a place in the market, not only drawing viewers out of curiosity but converting many into fans; Circle Chart data shows that the group’s first single album sold over 12,000 copies within its first week, and their most recent release only a year and a half later sold over 220,000 copies in the same time frame.

For XLOV, genderlessness goes further than being solely conceptual and appearance-based as K-pop has witnessed in the past. This intention was firmly defined at a recent showcase for XLOV’s second mini album I, God, on 27 May 2026 at the GB Gavin Art Hall in Gangnam, Seoul. During a talking segment, leader Wumuti opened up about the group’s distinctive identity, saying that despite gaining the curiosity of fans through their genderless approach, “XLOV doesn’t have any intention of approaching people in a provocative or sensational way, using the words ‘genderless’ or ‘gender free’ simply as buzzwords.”

“We think of this as a lifestyle that we want to express and propose to you,” he continued, “because we used to divide personalities by blood type, then by zodiac signs, and more recently by MBTI as well. Our concept started from the question: when it comes to our lives, beyond medical or clinical things, how can we define someone’s personality or the image they show to the world in just two categories? [...] If I feel like looking a certain way or wearing certain clothes or designs, then why shouldn’t I?”

In Wumuti’s explanation, genderlessness becomes not another category that can be used to define physical presentations or a descriptor for a certain type of appearance, but a term opening up a sense of freedom beyond all classification. XLOV’s genderlessness intends to remove limitations grounded in the gender binary and instead enable undefined expression – an act rooted in meaning, not for the sake of gaining the use of a vague, trending “buzzword.”

Of course, genderlessness does centre around appearance to an extent, as K-pop and its public facing nature will always fundamentally involve outward expression. However, in becoming a “lifestyle” with an intentional aim and a firm origin, this concept goes beyond what K-pop has seen before.

In March 2025, Stray Kids’ Felix walked the runway for Louis Vuitton for a second time at the fall-winter 2025 show – except, on this occasion, he was part of the brand's women's showcase. In April of the same year, ATEEZ’s Seonghwa walked the runway during Paris Fashion Week for Isabel Marant as part of their fall-winter 2025 womenswear showcase, and was photographed in a dress and heeled boots from the collection at surrounding events. These events made the headlines, as fans celebrated Felix becoming the first K-pop idol to walk a runway, with Seonghwa following closely behind. Though both Felix and Seonghwa themselves have been vocal about their embracing of androgynous clothing, wearing skirts and sporting long hair on several occasions, only a few discussed the implications beyond their presence: to have both walk for womenswear lines specifically strengthens the connection between K-pop and the subversion of strict gender roles on a performative basis. This is perhaps because there is the temptation, despite deeper connections Felix and Seonghwa may have to the experiences, to label modelling displays like this as surface level. They are solely based on appearance and the clothing chosen is typically not under the idol’s control – but this does not stop the events from setting the ball in motion.

The most notable aspect is that all three of these representations of genderlessness within K-pop – XLOV’s concept, and Felix’s and Seonghwa’s runway walks – have taken place within the past year or so. This indicates a sudden increase in the appeal of or at minimum acceptance of subversive approaches to gender in the industry. It will be interesting to see if this develops into an increase in genderless concepts within albums, music videos, or performances themselves, following in XLOV’s – successful – footsteps. Even more so, to see whether this has a meaningful impact on responses to gender nonconforming and queer individuals within the industry and Korean entertainment as a whole.

Historically, responses to queerness overall in the industry have not been positive. Holland, the first openly gay K-pop idol, went viral upon the release of his first music video, “Neverland” in 2018 – which included a same-sex kiss. He released the song independently, reportedly having been blacklisted from K-pop agencies who denied his wish to come out. The video, and his subsequent releases, have received large amounts of backlash. In 2020, he told British Vogue that “it’s still not common in Korean society to openly accept LGBTQ+ individuals or the community,” and this was proven when he was physically and verbally assaulted in Itaewon, Seoul, in direct connection to his sexuality two years later.

However, in the same interview he also stated that he believes his music is “playing a role in broadening this conversation,” referring to the reality of LGBTQ+ individuals in South Korea and in the industry itself. Five years on, the idol showed public support for Bain, member of rising boy-group JUSTB, when he came out publicly on stage in Los Angeles during the final concert of their North American tour. Despite the five year difference, Bain still remains one of the only K-pop idols to publicly disclose his queer identity and to do so with such pride, as well as the only one actively working under an entertainment company. Responses this time around, though, seem more positive. To DAZED, Bain said: “To be honest, I never expected so many people to show such interest in my coming out. Rather than feeling burdened by the attention, I feel truly grateful.” The shift from feeling “burdened” or criticised to feeling “grateful” for public responses showcases that progress has been made.

In part, the international growth of K-pop can be pinpointed as a reason for the growing acceptance and support of queerness in sexuality and in gender in the industry. To British Vogue, Holland acknowledged that Western artists impacted his journey: “I was influenced a lot by Western LGBTQ+ pop artists. I knew we needed a similar figure in Korea.” To Forbes, Bain said that “when we arrived in LA, it just felt natural – like it was the right time to share my true self with them. Their love gave me the courage to take that step.” Both were specifically encouraged by the support that queerness received overseas. Felix and Seonghwa’s runway walks for womenswear lines from Louis Vuitton and Isabel Marant were also held abroad in Europe, where there is a greater acceptance of queerness for the most part.

As K-pop continues to grow internationally and increasingly targets overseas markets, it is inevitable that the attitudes of fans and artists in the West will influence the industry. Perhaps it was less expected that this influence would make itself known through the acceptance of genderlessness and queerness for idols, but the shift makes sense and can be traced. The next challenge will be sharing messages like XLOV’s leader Wumuti’s: genderlessness – and queerness – are not buzzwords or surface level concepts, but lifestyles which should be embraced with intention.