Gender-fluid fashion didn’t arrive in Asia from the West. It was already there.

Every time an idol wears a skirt or a corset, someone writes: “this is Western influence.” History tells a different story.

In recent years, we have become increasingly familiar with genderless fashion, where the boundary between masculinity and femininity has become more fluid. In Asia, this phenomenon has also become increasingly visible, especially in entertainment and pop music.

Many attribute this trend to Western influence. But the idea of representing gender fluidity has deep roots in Asian cultural history, long before the concept of gender-fluidity entered contemporary debate.

Kabuki and performative femininity

As early as the seventeenth century in Japan, the traditional theatrical form of Kabuki was already staging a fluid and performative representation of gender. Men wore feminine kimono, elaborate make-up, and theatrical hairstyles that emphasized the character they were portraying.

Originally founded by female performers, Kabuki was restricted to men in 1629. This led to the emergence of the onnagata: male actors specialized in performing stylized movements and intense gestures to portray a femininity that was not biological, but performative. Even then, gender was already an aesthetic language.

Chinese opera: cross-dressing as a visual language

China also preserves a long tradition connected to gender fluidity, rooted in theatre and the practice of stage cross-dressing. In Chinese opera, men and women often performed roles of the opposite gender.

In the famous Peking Opera, female roles known as dan were often performed by male actors trained in highly codified movements, gestures, and vocal techniques. Rather than a provocation, crossing the boundary between masculine and feminine was a fundamental component of traditional Chinese aesthetics.

Visual Kei: Kabuki theatricality in a modern form

This tradition continued to evolve, inspiring new generations of artists. Visual Kei is a musical and visual movement that emerged in Japan between the 1980s and 1990s. Bands adopted extremely theatrical and androgynous looks, with heavy make-up, long hair, corsets, skirts, and garments that became an essential part of the performance.

Visual Kei was not simply a provocation. It was a modern reinterpretation of Kabuki’s visual language: gender ambiguity transformed into an artistic form.

K-pop and soft masculinity: redefining Korean masculinity

In Korea, idols have contributed to the spread of an androgynous aesthetic, marked by the use of make-up and looks enriched with elements traditionally associated with femininity, such as skirts, earrings, and bracelets. This has produced a new model of masculinity known as soft masculinity, where aesthetic care and androgyny become key elements of artistic identity.

Taemin from SHINee is considered one of the icons of this approach: his performances combine delicate movements with sophisticated styling. G-DRAGON introduced experimental looks through oversized clothing, bold make-up, and feminine accessories. BTS have also worn jewellery, make-up, and garments that do not follow a rigidly masculine cut on several occasions.

Seonghwa of ATEEZ and the new generation: from Korea to Paris Fashion Week

A significant example of this new generation is Seonghwa of ATEEZ. His refined and androgynous style has led him to wear denim skirts, sequined garments, corsets, heels, and sophisticated make-up.

At his international debut during Paris Fashion Week for Isabel Marant’s Spring/Summer 2025 collection, Seonghwa wore pieces from the brand’s womenswear line, bringing the idea of gender-fluid fashion into one of the most visible contexts of the global fashion industry.

Conclusion: not an import, but a reinvented tradition

The idea that gender-fluid fashion in Asia is the result of Western importation is reductive. The phenomenon had already existed for centuries within Asian culture and has reached the present day through continuous processes of transformation.

From Kabuki to Chinese opera, from Visual Kei to Korean soft masculinity: this is not external influence. It is a contemporary reworking of historically rooted visual languages.

Today, this process has been amplified by social media and the global circulation of idols who, every day through television programs, music videos, and posts, continue to spread these visual codes, inspiring increasingly wide audiences around the world.

What is soft masculinity in K-pop?

Soft masculinity is an aesthetic model that emerged within Korean K-pop culture, where image care, the use of make-up, and the adoption of styling elements traditionally associated with femininity are integrated into masculine identity. It is not a provocation: it is a codified visual language with precise historical roots.

Who is Seonghwa of ATEEZ?

Seonghwa is a member of the K-pop group ATEEZ, known for his refined and androgynous style. In 2025, he made his debut at Paris Fashion Week for Isabel Marant, wearing pieces from the brand’s womenswear collection.

Was gender-fluid fashion born in the West?

No. The fluid representation of gender through fashion has deep historical roots in Asia, from seventeenth-century Japanese Kabuki theatre to Chinese opera. The West helped give the phenomenon a contemporary name, but the phenomenon already existed.

What is Visual Kei?

Visual Kei is a musical and visual movement that emerged in Japan between the 1980s and 1990s. Bands adopted androgynous and theatrical looks, with heavy make-up, flamboyant clothing, and an aesthetic directly connected to the performative tradition of Kabuki.